A Quote by Donnie Yen
I always used to wonder why American actors were getting fat, then I made a U.S. movie. I'm seeing all the food every day, and there's lots of waiting around because making an American movie is very slow.
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I've made it my mission to make movies starring African American actors and about the African American experience and put them in the mainstream. They're very universal stories I've told - every movie I've done.
'Boomerang!' I love that movie just because of Halle Berry, Robin Givens, Eddie Murphy, Grace Jones and Eartha Kitt. There were so many characters. As an actress, to see African-American actors be so diverse was different from what I was used to seeing.
You're in the middle of making a movie and this part of the process is always very interesting. Because you think what you're making your movie is and then you start putting it out there, and then people tell you what your movie is.
I've always liked American actors particularly. Because that was my first impression. I was very enamoured of America when I was a kid because we were surrounded by American soldiers during the war, the accent was very strange to me, it was very exotic and very captivating.
Writing is so... I don't know, it's such a practice, and I feel very unpracticed in it, because I'm not doing it every day. And I really need to do it every day. In other words, you spend all this time writing a movie, and then you stop, and then you're shooting the movie, and then you're cutting, and a year and a half goes by, because in the editing room, you're not writing.
in Divorce American style, there was the discomfort of seeing one of the beautiful wasted actresses of the screen, Jean Simmons. Her suggestions of sensibility - what she embodies - were too fine for the world of that movie. Her presence made the movie she was trapped in seem uglier.
Producers don't like the director who ignores their opinion - but I always try not to be the nicest person when making a movie. It's easy to do that. Just say 'Yes sir', "Alright', 'Okay' - but they're not seeing the movie because if they can, they should be directing the movie.
You live and die two or three times making a movie. First, you write it, and the first pivotal moment comes when you can get it made. The second is in the process of making it, when the movie reveals itself to you, its flaws and its virtues. Then the most unnerving moment is when that movie is then launched into the world. It’s like bringing your kid to the first day at school and somebody points out that it has bowlegs, it is cross-eyed, or it’s gorgeous. You feel very exposed.
I made a movie to explain to the American public what had been achieved in regards to disarmament of Iraq and why inspectors aren't in Iraq today and detailing the very complex, murky history of interaction between Iraq, the United Nations and the United States. It is most definitely not a pro-Iraq movie. It is a pro-truth movie.
Big hooks have always been a part of American movie-making. So, to make a movie where you're just driving story through the characters without a high-concept is a challenge.
I'm used to American actors who have a movie career thinking television acting is beneath them.
I've always been blessed with confidence. I am a glass-half-full person. My first movie, 'Private Benjamin,' got turned down by every studio until the very last one, but I just kept thinking, 'Why are you people not seeing that this is a hit movie? What is wrong with you?'
There's something about seeing a movie that you like, and being able to see the scenes that didn't make it, just as a window into the process of how choices are made and how a movie is made. To me, the idea of getting to have the scenes on the DVD is very exciting.
The western will always be here. And it just depends on how good you make one. And one movie doesn't kill it. And one movie doesn't preserve it. It's storytelling. It's a very American thing. I'll continue to do it.
Not disown my past or upbringing, but I'd admired American actors, really American movie star - particularly the rebel heroes of the '50s.
'Shall We Dance?' takes a small, exquisite Japanese movie and turns it into a big, stupid American movie. Still, it must be said that as glossy and overproduced as the thing is, it's a good big, stupid American movie.
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