A Quote by Dennis Quaid
When I choose a movie, I'll ask myself: 'Is this a movie I want to see?'
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I choose parts because I don't want to be embarrassed when the movie comes out. What if my friends were to see the movie? What if my niece or nephew wandered into the theater and saw the movie? I don't want to be too ashamed of it.
To make a movie, and we can call it a movie or we can call it a piece of art, to make a movie that has that much mass appeal what it is? What is it that makes kids in China want to see that movie [ 'Avatar'] and makes my dad want to see that movie.
It's basically how I choose movie roles. Would I like to see this movie? Is this movie important? Why would I do this? And Headhunters is a movie that I would like to see in the cinema. And when it's sold to 50 countries or whatever, for me it's a great deal. I make movies for an audience so if that audience grows, I feel really honoured and thankful for it.
When I watch a movie myself, I want to forget that I'm watching a movie, and I want to be inside the movie. That's the kind of experience I want my audience to have.
I think what's fun of making a Transformers movie is that it gets to be all of the above. I think, thematically, this movie is ... because of the third movie, you can ask questions in this movie you couldn't ask in the previous films. Like I was referring to the fact that they were abandoned by humans in the previous film; their attitude is different, so we've been able to tackle different themes.
I just hate when things get labeled as "black movies." I don't say, "Oh, this weekend, I want to see an all-white movie," or "I want to see a black movie." I just go to a movie because I saw the previews and I relate to it. I want to see it because the previews look interesting.
I can't make a movie unless I believe in the themes behind it. I mean, that's the first question I ask myself, always, is, 'What is this movie about?'
When I start to write, I see my stories as a kind of movie. For instance, I ask myself, "What kind of opening do I want for this book?"
Sure, Kill Bill is a violent movie. But it's a Tarantino movie. You don't go to see Metallica and ask the fuckers to turn the music down.
In editing, you really face what the movie is. When you shoot it, you have this illusion that you're making the masterpieces that you're inspired by. But when you finally edit the movie, the movie is just a movie, so there is always a hint of disappointment, particularly when you see your first cut.
I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.
A good movie is a movie that you could see over and over again, not a movie that wins a Oscar, or a movie that makes a lot of money. It's a movie that you personally can watch over and over again. That, to me, is a measure of a good movie.
Mystery makes movie stars! If you see someone on the cover of the weeklies all the time, why would you want to pay to see them in a movie?
Sometimes in the middle of a presidential campaign, there's a political movie, and people are sick of hearing about politics, and they don't want to see that movie. They'd rather see "Godzilla."
For some reason, my main movie, Lady Sings the Blues, to me really isn't me. I really can let go of Diana Ross when I see the movie. I'm really objective when I'm watching it. I liked that movie so much. That movie was like magic so that when I'm looking at it I'm really not seeing myself, I'm seeing the actress. I'm seeing another person, not the me of me.
When I'm making a movie, I never watch the dailies. I see the movie once and that's it. It's really not about that for me. It's not about the externals. When I'm on a set, I don't want to see it. I want to be subjective in it. That's my habit now.
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