A Quote by Eugene Levy
American Pie' was a big movie for me. No one knew it at the time, but it allowed me to be offered such movies as 'Like Mike' and 'New York Minute' with the Olsen twins
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Gian Luigi Polidoro and his girlfriend had written this script, it was an American comedy, and they decided I was the guy to play the part. I was young, they offered me the lead in the film, and I said, "Sure, I'll do it." And I'm telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits. We would literally grab a shot and run. But Rent Control... I think the total cost was $100,000, and to this director's credit, I think it looks like $200,000.
Mike Nichols asked if I would do The Birdcage. Mike and I are dear friends but he had never offered me a feature role in a movie. My television career opened other doors for me.
Mike Nichols asked if I would do The Birdcage. Mike and I are dear friends but he had never offered me a feature role in a movie. My television career opened other doors for me
In the 1940s, I was doing something called the Equity Library Theater in New York, when a movie company came to see the play I was in and offered me a contract. But the deal was, my nose was too big and they wanted me to have surgery. My jaw was crooked, and I'd have to have that fixed, too. And they didn't like my name; it was too common.
I'm one with New York, and New York is one with me. I grew up there; there's no escaping it. We're like Siamese twins, if you separate us, I'll die.
New York was big enough and wide enough that it allowed for reasonably eccentric people like me to thrive. It was a perfect place for me.
I'll direct any movie starring a monkey or the Olsen Twins. Preferably both.
There are lots of people I'd like to work with. It would be fun to be in a movie with Mary-Kate Olsen and Ashley Olsen.
I've had a relatively charmed life. I loved to be out in the city. New York was my town. I've had people come up to me and say, 'You're a great New Yorker. You've given your time and money to so many New York charities. You're a great supporter of the arts. I like some of your movies - and some of your movies suck, actually.'
There was a kind of cultural life in New York that wasn't as solidified as it is now, it wasn't as money-driven. If you look at the size of the successful art galleries compared to the size of galleries now - there was no such thing as the Gagosian Gallery or Pace Gallery. But it was a time when magazines were a vital part of American life, and Esquire gave me a free pass to every world - I could get to the art world, the theater world, the movie world. It allowed you to roam through the cultural life of New York City.
I wasn't one of those kids who was like, 'Get me to New York. Get me to a big city.' I was always much more shy. All I knew was that I loved to act.
I was offered 'Pretty Woman.' I was offered 'Big' and 'Dead Poets Society.' But what was important to me in those years was to make movies, to make these Albert Brooks movies.
I mean, if you look at all the great romantic screwbally kind of movies from the '30s and '40s, they're all in New York. Even 'Sleepless in Seattle,' a movie about Seattle, ends up in New York, of course. The whole country, even if they've never been to New York, knows about it... from the movies.
Nobody ever said, "Well if you want to be in movies, you should go to L.A." Everybody else was going to New York. So I went to New York with them. And then I was like, "How am I supposed to get a movie?"
I turned down 'Harry Potter' and 'Spider-Man,' two movies that I knew would be phenomenally successful, because I had already made movies like that before and they offered no challenge to me. I don't need my ego to be reminded.
Last time you bring me pie, I cut into it, with my tiny pie cutter, and millions of birds flew out hitting me in the eyes and the temples... it was a trick pie!
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