A Quote by Dean Devlin
We're going to come back to Oregon, whether it's with another show, or a pilot, or a movie. We love working up there. I think it's got one of the most amazing talent pools of any state in the union.
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I think going back to the early days of the show [Suits], even back to the pilot, we've always used movie references. It's always just been intertwined in the life of the show, and that is born out of my - everything to me reminds me of a movie that I've seen, so I'm constantly in my life referencing those things.
I was playing this sort of asshole actor [in The Jenny McCarthy Show]. And we shot the pilot, and it was a guaranteed go. It was going to be 24 [episodes] on the air. No questions from NBC. And we shot the pilot, and I was in Toronto doing a movie, and I got a call saying they cut the character, that I was off the show.
I did a movie a few years back, 'Medicine for Melancholy.' People will come up to me after a set and say, 'I really love that movie. When are you going to do another one?' Or 'I loved you on 'The Daily Show.' Why did you leave?' It's kind of the same as saying, 'I loved you in high school. You should have never left.'
Oregon is outflanking California as the most left wing state in the union.
I thought the first two seasons of America's Got Talent were good. I think this one is the best one by a mile because they - you see the difference this year, I think, with the crowd being effectively the fourth judge. But most importantly, I think that these shows have to have a relevance because if you're not finding stars at the back of these shows - whether it's Idol or Got Talent - they're a complete waste of time.
A lot of directors on a base level are fearful of actors and maybe even distrustful. I love the craft of acting and I love actors so I think they can probably sense that. They also know that I understand what their process is, having done it myself. The thing I come back to over and over again is that for most people who are not analyzing it from a critical point of view, most iconic film moments are actor moments. We show up to commune with another human being and their experience. We don't show up necessarily to watch a really cool dolly shot.
When I was done with the movie [Ordinary World], I felt really compelled to start working on another album. Little did I know, they were going to come out back to back.
I got a movie I'm working on. 'A Gangsta's Pain' was actually supposed to be the soundtrack to the movie, but it got a little delayed, so the movie is going to come out after the fact.
Only in my case, when my presidency ends, I will go back to my home industrial city town, 800 meters from my local trade union that projected me my political life. And if I fail, when I go back to my hometown, it's going to take another century for another worker, another member of the working class to reach the presidency, because people are going to say that the workers do not have the competency to run a country.
Some friends and I, we went right up there behind the studio and we got on a train, we could tell it was going to go to Roseville. We got off it and got on another train. And we got to Roseville, and it takes hours to get through that yard. It's really big. So we ended up just coming back here. It's like fishing or hunting. You can't always come back with something.
I sat down and wrote some jokes and went to the talent show, got up on stage, fell in love with it and never turned back.
The amazing thing about any movie is not whether it's good, but that it got made at all.
I am actually working on The Neighbors sitcom. We are starting from scratch. I am also working on a comedy movie and a vampire movie. I also have the pilot for The Tommy Wiseau Show and of course The House That Drips Blood On Alex, which we are hoping to make a sequel.
When I did Sean Penn’s movie, I think I was living in, like, a $500-a-month room, and someone called me up or bumped into me and asked me if I’d come up to work for a day. That sort of got me going a little bit. But it wasn’t until Sin City [2005] that I kind of got back into the game.
We're gonna play a little bit of a game here [Person of Interest movie]. Greg and I felt like we had responsibility when we wrapped up the pilot, to have a roadmap for where the show went. When we pitched the pilot, we knew what we wanted the last episode to be, the last image, I think we even know what the last song is.
I think what all actors share is that, somewhere down in your solar plexus, there's this fear that you're not going to be able to come up with the goods, that this is the one movie where you're going to look like a fool, and they should have cast someone else. And you feel ugly, and you've got three chins, and you've gained too much weight, and you're losing your hair, and there are so many better actors who could do this. But if you've got chops, what you realize is that everybody feels that way, so just show up and do the job.
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