A Quote by Charley Boorman

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.
I'm a writer and director. And the movie I've seen a million times is 'Coming Home,' directed by Hal Ashby and starring Jon Voight, Jane Fonda and Bruce Dern.
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.
There's the young Jon Voight and the old Jon Voight.
I always loved the guitar, from when I was quite little. My dad had a G banjo at the house that he played. When he had parties, my sisters always played piano, and my dad played banjo.
Jon Voight is a consummate American actor.
I think one of the things you have to be aware of as an actor is that if you come on the set and see the director standing there mouthing all the words while a scene is going on, that's usually a very bad sign because it means the director has already shot the scene in his head. He knows exactly the rhythm and the nuances that he wants delivered in the line and you're not going to dissuade him.
My mum worked in a grocery shop and played football, and my dad worked with cars, a sales director, and he played to almost a professional level. His dad played as well.
The director's job is to know what emotional statement he wants a character to convey in his scene or his line, and to exercise taste and judgment in helping the actor give his best possible performance.
David Fincher is a longtime friend. As a director, my wife had worked with him as a makeup artist when he would do Madonna videos years before, and his child and my oldest child were in preschool together, so we're kind of dad-friends through that, too.
When you make a movie, you do it so piecemeal. You're doing it, not only scene by scene, out of order, but shot by shot, line by line. And there's this idea that the director has the whole thing in his or her head and they're going to somehow weave it all together in the end.
A movie that makes me cry every time is 'Billy Elliot.' That scene where he's dancing in the hall, and his dad walks in. And the first time his dad can see how amazing he is dancing, but he's so conflicted with kind of his own feelings towards it. Oh, it's so emotional.
At the core of these movies, Saw One and Saw Two, it's a very real situation. A guy cheats on his wife and didn't value what he had. It's the same thing in my story. Being a dad and playing someone whose last words to his son were 'go to hell'. I say to my son, the last thing I say is 'I love you'.
I'm so much more than just Angelina [Jolie's] brother. I'm also Jon Voight's son and Billy Bob Thorton's brother-in-law.
Rahman is very very director friendly. He is ever ready to go whichever the director wants, the story wants, depending on the kind of movie or the music you want, and within that he finds his niche. It is a constantly complementary process. At the end of the day he is not pleasing you, he has to please himself.
I have played against (Michel) Platini, (Diego) Maradona, (Johan) Cruyff and played with George Best — a lot of big names, but none of them has been able to do what Messi does. Two years ago I said that the best player I played against was Maradona and the best player I have played with was Bestie. But I can now say I have never seen a player as good as Messi. He’s in a league of his own.
My dad took me for an audition once, to show me, OK, you want to be a child actor, this is what its like. I sang a folk song about donkeys on this West End stage with this big director, and there was a queue of 200 girls all singing Memory. I was terrible. Terrible.
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