A Quote by D. B. Sweeney
I think it's particularly stupid that filmmakers have traditionally said, 'Yeah, I like baseball, but the movie's not going to be about the intricacies of the game.' I mean, you wouldn't cast an overweight guy with stubble if you were doing a ballet film.
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Gian Luigi Polidoro and his girlfriend had written this script, it was an American comedy, and they decided I was the guy to play the part. I was young, they offered me the lead in the film, and I said, "Sure, I'll do it." And I'm telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits. We would literally grab a shot and run. But Rent Control... I think the total cost was $100,000, and to this director's credit, I think it looks like $200,000.
A producer wouldn't think of making a film about ballet dancers without using real dancers, but they will cast actors who have never held a bat in baseball films.
I like filmmakers where, if their film comes on and you step in halfway through it, you can recognize that, hey, this is a Coen Brothers film. Or, hey, this is a Stanley Kubrick movie. You can recognize some filmmakers. Like, if you put on a Sam Raimi movie, you can tell that it's a Sam Raimi movie pretty quickly. I like a signature style that people can recognize and relate to, and connect with. I think that is part of why we seek out certain directors. We want to see how they view the world.
I was at the AMC Century City movie theater with my mom, and we were walking through the lobby, and these girls came up to me, and they said, 'Are you Dallas from 'Austin & Ally' - and I was like, - yeah, yeah. And they were like, 'Can we have a picture with you?' and I was like, 'Yeah sure of course.'
When you call a game, it's almost like you're doing a three-hour movie and the production of it all, living in the moment in real time, the replays, all the intricacies that go into putting a game in a broadcast. It's not just 100 percent football.
Yeah, I had it all mapped out actually. Seriously. I wrote it down. I said, 'When I'm the head coach of the Eagles, I'm going to make sure I get that guy on my team.' And then guy next to me was like, 'You're only the offensive coordinator at New Hampshire.' I said, 'Don't worry about it. Minor details. But it's going to work.'
I meet all these American filmmakers that film for months and months, and it's a mystery to me. I couldn't make a film like that. I have to be very clear in what I'm doing and where it's going, and be very disciplined about what I film.
Well consciously what we were doing when making the film was, we really wanted to make sure it was a film about - in our mind it was never really a sequel, it was its own movie going forward and it's why the movie doesn't have a number by it.
When I did my first film I kind of fell into it. I got cast in this movie called 2:37... the director, Murali K Thalluri, basically saw me and said: "I'm going to put you in this movie." And that week I felt like a void had been filled. I was so in my element. I was thrown in at the deep end.
I have thought about Happy Days made into a movie. As far as the original cast not being a part of it, wow, I don't know who could be who! I just don't see it going in that direction. I can see the original cast doing the movie very easily though.
I have thought about Happy Days made into a movie. As far as the original cast not being a part of it, wow, I don't know who could be who!I just don't see it going in that direction. I can see the original cast doing the movie very easily though.
Yeah, a lot more than he likes you," said Oh. It didn't look like Milo appreciated the joke very much. "That's debatable," said Milo. "Is not," said Oh. She leaned in and put her pink cast against my cheek, kissing me quickly on the lips. "That's incredibly unfair. If we were gay you'd be up a creek without a paddle. You wouldn't even be in the game." "He's right, you know," I said. "Aw. You guys are having a bromance. That's really cute.
When I was about 12, I was studying Chinese and ballet with my brother, and one morning Jonathan said to me, 'I don't think I'm going to go to ballet class anymore,' and I looked at him and said, 'You know, I don't think I'm going to go to Chinese class anymore.'
Baseball is going to end some day. I realize that as soon as you retire you know, people forget about you in this game fast! There's the next young guy coming up that's always better than you. So, for me, it's just about using baseball as a platform to do a lot of things.
The first person I ever described the film [The Neon Demon] to was Christina Hendricks [who has a cameo in the movie]. We were having dinner in LA and she asked me what I wanted to do next and I said, "I want to do a horror movie." And she goes, "What's it going to be about?" And I said, "A lot of blood and high heels."
They said [on a day show], oh, you can't do a Chinese accent. That's - and I said, I'm not doing a Chinese accent. I'm doing my friend's accent. And they said, yeah, you can't do that. And I said, OK, but can I do a Russian accent? And they said, yeah, yeah, of course, you can do that. I said, and a British accent? They said, yeah, go ahead. And I couldn't understand.
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