A Quote by Burt Reynolds

I'm proud of 'Deliverance' because it was a very dangerous film to make, and they all said it couldn't be done, and we did it. And Jon Voight and I are now like brothers. — © Burt Reynolds
I'm proud of 'Deliverance' because it was a very dangerous film to make, and they all said it couldn't be done, and we did it. And Jon Voight and I are now like brothers.
I was a child actor in 'Deliverance,' but not the banjo player. It was my dad's big movie as a director, and at the very end there's a scene where Jon Voight comes home to his wife. I played his young son.
There's the young Jon Voight and the old Jon Voight.
Various studios are still shooting on film with digital grain and the DI negatives, it's not ideal. We should really be all film or all digital. But that being said, the old way of graining in the camera, now you can make changes like a painter. It's dangerous because you can ruin the film, you can over-fiddle. We've all seen films and gone 'what the hell is that?'
I'm just trying desperately to hang on to my true friends. Like Jon Voight. We laugh all the time at how stupid we are.
Even if the film doesn't come out quite as you'd hoped, the process can also be very rewarding. I feel that way about a film called 'Lay the Favorite' that I made with Stephen Frears. I did that because the character was a real leap for me. The film doesn't quite all add up internally, but I feel very proud of what I did on it.
Jon Voight is a consummate American actor.
I have a feeling he felt Jon Voight had run away with the film, which he didn't, though he was brilliant in it, in a much less easy part. I just don't know what had got into him, but something had.
My best film is always my next film. I couldn't make Chungking Express now, because of the way I live and drink I've forgotten how I did it. I don't believe in film school or film theory. Just try and get in there and make the bloody film, do good work and be with people you love.
I thought 'Deliverance' was a very good film. But it didn't have the success financially that 'Smokey and the Bandit' did, although that film made more money than 'Star Wars' in the first week.
Like Jon Voight, Pat Boone, Kelsey Grammer, and Gary Sinise, Clint Howard is one of the few courageous enough to identify himself publicly as a conservative.
"Smooth Sailing" and "Hall of Fame" are my top two nicknames. "Cool Guy." "Jolly Jon." "Fun Jon." There's a lot of derivatives of Jon. "Cool Jon." Some people took "Smooth Sailing" and "Fun Jon" and made "Smooth Jon." That's a good one. It's just starting to catch on with the general public. Just every now and then, "Hey! Smooth Jon!" Or "You're Smooth Jon, right?!" People aren't quite sure. I'm like, "Yeah." "Okay, cool, that's what I thought!"
I did not make this film about Frank Abagnale because of what he did . . but because of what he has done with his life the past 30 years.
I did New York, I Love You which is a very personal film for me. My most personal film, but it's not like a film I've ever made. I would never do that film as a feature, for instance, because it's not very commercial of an idea.
I always loved how people like Jon Voight and Laurence Olivier shocked you every time they came on-screen. They were so different each time. That's what I hope to do with acting - be the chameleon and not get stuck in a type.
The dynamic range of the digital camera is pretty crappy compared to film, but now film is not great because the labs have closed. It's going to hurt a lot of the movies that we did in this gap because I think they are going to look very old very soon.
I'm not really too worried about the mystique of Jon Jones. Because I know Jon Jones' core. I remember when Jon Jones used to come up to me and say, 'Hey man, what's it like when everybody wants to take pictures with you?' So I know Jon Jones.
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