A Quote by Dustin Hoffman
Well first of all, it's hard to shoot a movie and break for a long time and then come back and do, in a sense, one of the biggest scenes that each character had.
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Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
'The Good Wife' was definitely the biggest surprise and gift that I've had in a long time, and that did come out of some other work that I had done. That whole adage of 'work begets work' actually worked in that case - it was at the very end of their first season that my character was first introduced.
The Good Wife was definitely the biggest surprise and gift that Ive had in a long time, and that did come out of some other work that I had done. That whole adage of work begets work actually worked in that case - it was at the very end of their first season that my character was first introduced.
Most of the time, I'm making music. There'll be moments of my life where I feel like I gotta to take a break and come back to the music. It's hard to explain, but you need to get a break from it and then come back to it. It's like you gotta lose something to appreciate it.
It took me a long time to film the plastic bag, and then I had to get the cut of the scene right. But if you find it as beautiful as the character does, then suddenly it becomes a different movie, and so did he as a character.
A lot of first-time filmmakers are almost apologizing for their movie by saying, Well, we only had 18 days to shoot, you know.
A lot of first-time filmmakers are almost apologizing for their movie by saying, 'Well, we only had 18 days to shoot, you know.'
It was really an experience, being my first time directing a movie. The scenes that I was in, Brooke really directed me all the time. And the scenes that both of us were in, Brooke directed those. Come to think of it, Brooke directed most of the scenes.
Well I liked the mixture actually. It's really good fun to have throughout a shoot to move from something which is quite character based in certain scenes where there's very little action and you're just working with actors and I suppose I've had quite a lot of practice at that. This is more action than I've had a chance to do so that was fun for me too to go into the action then and have some really good crew working with me. And sometimes you get these scenes where they blend.
Only twice have I really had a hard time leaving a character. The first was my character in 'Rome' and then in 'Homeland.'
We were lucky to get Sam Jackson and Jeremy Irons and John McTiernan back. Long movie and hard movie to make and difficult for me because instead of working, my biggest concern was not repeating things I had done it in the previous films. And it rang notes in my head of episodic TV. A sequel is not a new movie; it's a chapter in a movie that you have already seen. Thank god Sam was there and thank god Jeremy was there. Again, it went outside the template of that series of films but it did well and made a ton of dough and the third chapter of a lot of sequels is always the one that falls down.
I was conveniently bisexual for a long time, and then I went, 'Come on, who am I kidding?' And I have to say, it was the single biggest step I took toward emotional well-being, to stop feeling like I had to hide who I am.
When I realised that I had feelings for men as well as women, at first I was worried and frightened, and there was a certain amount of 'Who am I? Am I a criminal?' and so on. It took me a long time to come to terms with myself. Those were painful years - painful then and painful to look back on.
I had a hard time with that hockey. I hadn't grown up skating, so that was my biggest challenge. We worked on it and worked on it. But then when we first shot it, it was so hard for me.
There were definitely scenes I struggled with more than others: the car accident and the thunderstorm are two that come to mind. It's difficult to write about a thunderstorm. There are only so many ways to describe it and our vocabulary is so limited. And the car accident scene required a tense, manic quality that had to be conveyed in the language, as well as the character's dialogue and actions. I was editing these scenes long after I thought I was finished with them.
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