A Quote by Gabriel Mann
The only description for Nolan in the script was that he's a very bad dresser. I put on a red windbreaker and every other ugly, ill-fitting thing I could dig out. He was potentially written as a clean-cut nerd, but I wanted a darker spin.
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We see women who go out and want to look like Jennifer Aniston, and they're wearing an ill-fitting red dress and ugly gold shoes, and they've got flat hair and they can't walk.
When you start out as an actor, you read a script thinking of it at its best. But that's not usually the case in general, and usually what you have to do is you have to read a script and think of it at its worst. You read it going, "OK, how bad could this be?" first and foremost. You cannot make a good film out of a bad script. You can make a bad film out of a good script, but you can't make a good film out of a bad script.
Out of all my friends, I believe I'm the only kid whose dad made us work to cut rebars; we laid bricks in construction sites and did other real work every summer for minimum wage. Our dad said that it's important in the future that when we tell people to dig a hole, that you personally know how long it will take to dig that hole.
There are potentially hundreds of billion dollars, potentially more, that could be saved by moving to a clean energy system. Studies [on healthier diet] show those savings, in fact, are enough to pay the costs of creating 100% clean renewable energy.
What I learned is that I should probably read a screenplay every once in a while before I said 'yes'. You could make bad film out of a good script, but you're never going to make a good film out of a bad script.
'Appetite for Destruction' was the only thing written with lyrics and melody fitting the guitar parts at the same time. After that, I got a barrage of guitar songs that I was supposed to put words to, and I don't know if that was the best thing for Guns.
Ill-fitting grammar are like ill-fitting shoes. You can get used to it for a bit, but then one day your toes fall off and you can't walk to the bathroom.
When the first emperor wanted to unify the country, one of the major policies was to create one system of written signs. By force, brutal force, he eliminated all the other scripts. One script became the official script. All the others were banned. And those who used other scripts were punished severely. And then the meanings of all the characters, over the centuries, had to be kept uniform as a part of the political apparatus. So from the very beginning the written word was a powerful political tool.
After I made my first short film that wasn't terrible, people were interested in potentially developing a feature with me. Every time I read a script, it was a bizarre, too-dark, genre-less thing that no one wanted to make.
I did not like 'The Hurt Locker.' It's a lazy way to make a movie, frankly. I could put you on the edge of your seat quite easily, and have you feel the tension for 2 hours, if every other scene practically is, 'Should we cut the red wire or the green wire?'
I've always felt like if I had a bad practice, I could potentially get cut the next day.
I do find some of the meanest, most exclusionary people are the nerds. And they rebel against other nerds! What are you doing? As much as I love nerds and the nerd movement, the nerd-on-nerd violence is really bad. A lot of times, nerds are the meanest ones online. And also, the trolling can be very extensive because they're smart.
You make a decision whether you just work on the script and believe in every moment and pick out every moment, or if you sit down and memorize lines. Once you really dig into a script, learning lines becomes almost second nature.
I find that the only way to make my characters really interesting to children is to exaggerate all their good or bad qualities, and so if a person is nasty or bad or cruel, you make them very nasty, very bad, very cruel. If they are ugly, you make them extremely ugly. That, I think, is fun and makes an impact.
Chris [ Nolan] and I have a strange way of working from the non-movie process, where after all these conversations and reading the script and more conversations, Chris went out and shot the films and the first thing he did, he wouldn't show it to me until I had written the music - not out of meanness, or anything, it just sort of seemed an interesting idea to see if there was some synchronicity and letting me use my imagination to the fullest instead of being constricted by cuts and images.
I'd like to do the young cadet thing again for sure, but that's why I wanted to do this, to see if I could do it. I took the scenes out of the script and put them together and read them as one little arc, story and that seemed to work.
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