A Quote by Duncan Jones
And as a first time director I needed to work with someone that I felt comfortable with, and that I could get along with. It was a perfect match [with Sam Rockwell]; I am so thrilled I got to work with him. He is a really nice and incredible guy.
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When Ben and I first got married and we first had kids, I felt I needed to prove we could still do it and I could still work separately from Ben and I could still work with him. I just let go of all of that now. I said to him, 'For me, a little bit goes a long way.'
When Ben Stiller and I first got married and we first had kids, I felt I needed to prove we could still do it and I could still work separately from Ben and I could still work with him. I just let go of all of that now. I said to him, 'For me, a little bit goes a long way.'
I think one third of my work is with first-time directors because I think I should, you know? Really, the difference between a first-time director and a second- or third-time director - I mean there's no director who makes enough movies anyway - but if they're talented, they have it. And there is no movie that is perfect.
Yachty is really quiet when you first meet him, and that was different to me. That's just how he is. He's chill, but he'll talk to you. My first thought when I met him? 'Oh, I could get along with this guy.'
A Mexican guy named Sam pushes Gary Frankel next to Isabel. "This guy can break your arm with one snap, asshole. Get out of my sight before I sic him on you," Sam says. Gary, who's wearing a coral shirt and white pants, growls to look tough. It doesn't work.
I like working with a first time director. I'm more likely to work with a first time director than I am a second time director.
I am thrilled to be working with Alex Sanchez as the artist on 'Katana.' His work is wildly eclectic, exciting and powerful, yet slyly humorous, which is a perfect match for Katana.
I asked Shia: who is the guy that terrifies you the most? And he said Mads. So it was somebody we both really wanted to work with. He's intimidating, but has a really big heart and he's sexy. He's got this sexiness, even guys fall for him. He just penetrates everything-not literally. So we needed a brokenhearted thug that could really give us the heartache. And going between the violence and viciousness and the complete softness without making it too much. A lot of those characters can go into a charade, and I needed it to be genuine heartbrokenness and that's what he's great at doing.
Imagine if I cannot stand someone and every day he is here in my face, then I cannot work. Then, the whole time, I am thinking "I hate him, I hate him." But if I love him or I love her, then I can do anything, then I am comfortable. That's why it's so important to be surrounded by people that you really like.
I don't follow anything that's said about him much, but the Uwe Boll that I know is just a really cool guy. He's just a really quiet, kind and passionate filmmaker who really believes in what he's doing. Like any director that an actor wants to work with, you want a director who's passionate and believes in the work that he's doing.
I'll work with a director if I think I'm going to get into a comfortable situation, and if it's someone I respect and who respects me, even if they're not so well known. Movies are hard to make, and you have to work toward a common ethic and do your best.
I felt like I needed to be a 'pretty girl' for someone else. I felt like I needed to change a lot about who I actually was to be perfect for them instead of just being who I am genuinely.
When I auditioned to be part of the "This Is It" Tour, I didn't think I was going to get in. I didn't think it was for real at first, when I got the message on MySpace from the musical director to come in and audition for him. I came in and I played for the musical director, and that night Michael Jackson came in and sat down on the couch and I played "Beat It" for him. I just practiced as much as I could to make sure it was perfect.
I couldn't get a job acting all the time and there were down periods where I could take photographs or paint. I got into a lot of trouble when I was young, from making two films with James Dean, watching him work and then him dying and thinking I could turn down work. There was a big difference, he was a star and I wasn't. So I got in a lot of trouble and was essentially banned from Hollywood.
I'm a guy of 92kg. I haven't got the physique of someone who can work back and then sprint up front again throughout a match!
When computers came along, I felt for the first time that I had the proper tools for the kind of theoretical work I wanted to do. So I moved over to that, and that got me into psychology.
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