A Quote by Christian Bale
I tend to stay in character between scenes... to be rather serious on set, but here's why, and I think people will find it surprising. I'm one of the worst 'corpses' on a movie set, which means you can't keep a straight face. You start to get the giggles and you can't stop.
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We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.
I think at some level, it's just alchemy that we, as writers, can't explain when we write the characters. I don't set out to create the characters - they're not, to me, collections of quirks that I can put together. I discover the characters, instead. I usually go through a standard set of interview questions with the character in the beginning and ask the vital stuff: What's important to you? What do you love? Hate? Fear? .. and then I know where to start. But the characters just grow on their own, at a certain point. And start surprising me.
I think it would be self-indulgent to go, "Oh, I'm going to make this character different by giving him a quirk of some kind." I don't think that serves the story, particularly. But even very similar scenes with a different set of actors, a different set of circumstances, it starts to evolve as a different character.
Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
I realized that in every movie, there are a handful of scenes that stand out. So, if you get two of those four-five scenes, then you're set.
If you stay up late and you have another hour of work to do, you can just stay up another hour later without running into a wall and having to stop. Whereas it might take three or four hours if you start over, you might finish if you just work that extra hour. If you're a morning person, the day always intrudes a fixed amount of time in the future. So it's much less efficient. Which is why I think computer people tend to be night people - because a machine doesn't get sleepy.
I think you make the movie in your head that you have to make, and you have to get it out of you. You have all these pretentious reasons why you want to do it, and you set out to accomplish them. And you think "This is important for what I'm trying to accomplish for the story," and I think those reasons will come through to an audience, and they will find it. That's the best you can do.
Whether they love me or don't love me, they think I know what I'm doing and that people aren't gonna be taking advantage of the country. So if I had my choice, I'd love to keep doing what I'm doing. The country is in serious, serious trouble, like it's never been before. And that's why I'm saying: Would I rather stay in Trump Tower? Would I rather stay and lead the life I'm leading - and you know something about my life. It's very good.
I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.
I have set and always will set my face like flint against making any difference between one citizen of this country and another on grounds of his origin.
Ten geographers who think the world is flat will tend to reinforce each other's errors ... Only a sailor can set them straight.
There is a real connection between culture and climate change. We all have a part to play and if you engage with life, you will get a new set of values, get off the consumer treadmill, and start to think, and it is these great thinkers who will rescue the planet.
Playing a plainer role means everything is dependent on the credentials of the actor, not the fact that they are as pretty as Julia Roberts. People start to look at their talent rather than their appearance. And playing the ugly part often means less time in the make-up chair, which is a great benefit on set.
The aim of the book is to set a limit to thought, or rather - not to thought, but to the expression of thoughts: for in order to be able to set a limit to thought, we should have to find both sides of the limit thinkable (i.e. we should have to be able to think what cannot be thought). It will therefore only be in language that the limit can be set, and what lies on the other side of the limit will simply be nonsense.
One reason why upturns follow downturns is that downturns tend to overshoot. People get panicky, they're afraid to stay the course, so they start selling. The other thing is that I think, as entrepreneurs keep on waiting to produce new things, that there's an accumulation of as-yet-unexploited new ideas that keeps mounting up.
As we get older, we tend to become more risk averse because we tend to find reasons why things won't work. When you are a kid, you think everything is possible, and I think with creativity it is so important to keep that naivety.
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