A Quote by Casey Affleck

Lots of movies don't kind of work as well as they do on the page. — © Casey Affleck
Lots of movies don't kind of work as well as they do on the page.
Those are the movies that we [with Evan Goldberg] always wanted to make. Pulp Fiction, Reservoir Dogs, the kind of movies where violence and comedy and characters kind of work together really well.
In order to be an artist and an actor, like tackling the classics in the theater as well as film, there's lots of discipline, lots of work, physical work put in.
I don't feel that any kind of narrow stereotypes are representative of the work I've done, nor the range of the audience that work has found. I've played lots of different roles, and they've connected with lots of different people.
There are lots of things to do. Lots of movies to catch. Lots of places to visit... I try to bring in every real life experience into my acting.
I get very tense working, so I often have to get up and wander around the house. It is very bad on my stomach. I have to be mad to be working well anyway, and then I am mad about the way things are going on the page in addition. My ulcer flourishes and I have to chew lots of pills. When my work is going well, I am usually sort of sick.
Yes, the fear of its blankness. At the same time, I kind of loved it. Mallarmé was trying to make the page a blank page. But if you're going to make the page a blank page, it's not just the absence of something, it has to become something else. It has to be material, it has to be this thing. I wanted to turn a page into a thing.
Everyone wants to be paid well - I know that I certainly do. But there are lots of other satisfactions that we get from our work. To feel needed. To feel accomplishment. To believe that our work matters. Being a lawyer gives you a rare chance to experience that kind of success.
Movies either work or they don't work and they're either funny or they're not and we work very hard. To achieve that kind of work is really kind of delicate stitching.
Cornwall has lots of folk and Celtic music and has that kind of surfer vibe as well. That was my kind of upbringing.
I was terrified to do 'G.I. Joe.' I had no idea how to do one of those movies. I was kind of scared. You know, if one of those doesn't work, it's a huge hit on your career. People are like, 'Well he couldn't make a $170 million movie work. I don't want him in my film.'
The model we established was to give creative people complete creative freedom in exchange for betting on themselves, so they work for the minimums you're allowed to work for, and if the movies work in a big way, everyone does very well. If the movies don't, nobody loses too much money. The benefit to doing all the movies low budget is we can tell different types of stories and take creative risks. The Purge would have been irresponsible to do for $20M, but to do it for $3M makes sense.
Some people would say you need what you need to work, but I need very little to work, because I learned how to make movies on tiny movies. It's all kind of easy for me.
I need very little to work, because I learned how to make movies on tiny movies. It's all kind of easy for me.
You watch an old 'Jeopardy!' and the categories alone are very plain. 'Poetry,' or 'Movies,' or 'Physics.' If you watch it now, though, there'll be a theme board where the categories are all Hitchcock movies. Lots more jokes, lots more high-concept categories and questions.
There is an enormous redundancy in every well-written book. With a well-written book I only read the right-hand page and allow my mind to work on the left-hand page. With a poorly written book I read every word.
When you're reading a newspaper and you're seeing ads on the page, it's not kind of invasive. Like, it's on the page next to the article. You can look at it or not. You can turn the page when you're ready. On the internet, the ads - many of the ads - just are so controlling. They insist that you see them.
This site uses cookies to ensure you get the best experience. More info...
Got it!