A Quote by George Carlin
Somebody once said that Hollywood is based on a lot of producers deliberately making bad movies, and every now and then somebody gets lucky.
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The trick to making a story matter is that every now and then, somebody you care about has to go. If it's somebody that you don't care about, then it doesn't really have - the stakes aren't there. But if you do that every now and then, then the story matters to people. And there are actual stakes involved, emotional stakes.
Every now and then I think about my own death, and I think about my own funeral. [...] Every now and then I ask myself, 'What is it that I would want said?' I'd like somebody to mention that day, that Martin Luther King, Jr., tried to give his life serving others. I'd like for somebody to say that day, that Martin Luther King, Jr., tried to love somebody.
I am asexual. A-sexual. I read somewhere, maybe on Facebook, where somebody said something like, "I heard Bradford was gay, but then I heard he was bi." Then somebody wrote, "No, I heard he was asexual." And then somebody said, "That's bullshit - he totally hit on my friend after a show."
My grandmother, when she looked at American movies, she said, 'They're all the same. In the first scene somebody shoots somebody and then everybody makes phone calls.'
I do have huge pressure in terms of making my animation, because a lot of audiences and producers are expecting me to make films with a lot of action. They all know that I'm very good at action scenes, but I tend to not use many, so they're all frustrated with me. But I do that intentionally. Yes, if I do a movie with a bunch of action, it's going to be a lot more successful than the types of movies I'm making right now. The producers often say, "Instead of using all these philosophical phrases, why don't you change this into an action scene?" But I intend to continue to make these movies.
We didn't get to see a lot of movies in my house growing up, so the first time I got to go to the movies - I think it was 'E.T.' - I was like, 'Oh my God, somebody else gets my imagination!'
I think people that have a brother or sister don't realize how lucky they are. Sure, they fight a lot, but to know that there's always somebody there, somebody that's family.
My favorite thing about making movies is that it's the only area of human life that I've ever discovered where I can walk away from somebody in the middle of a conversation with somebody and they won't be offended.
A bad guy in a movie has a lot of latitude for acting. He can walk up the wall, crawl across the ceiling, go piss in the corner and everybody will say, "Fantastic!" But somebody's going to have to catch that sucker. Somebody's going to have to play the guy who gets him in the end. And that's a better part.
I mean, the idea that it might help somebody out or help somebody make the decision to become a stewardess or otherwise... No, that's one of the nice things about making music or making movies, is that art does have the power to affect people. I feel really privileged to be a part of that.
You need an immense amount of luck and an immense amount of perseverance to even be on the playing field for success on a grand scale. You work as hard as you can for ten years so you finally have a chance to be lucky - It's really rare that somebody gets lucky. It's usually a combination of a lot of talent, a lot of hard work. People that get lucky also tend to be really great looking.
The corporate system dictates what gets made, and the movies are so bad because of the economic structure of Hollywood. The big business takeover of Hollywood is at fault rather than American storytellers - it's what keeps textured movies from getting made.
I really don't want somebody writing something positive about me if they don't believe in it. I'd rather somebody write something real mean. I like reading bad stuff, it gets me excited. In fact, the only reviews I keep are the bad ones 'cause I think they're the cool ones.
I mean, I love L.A. - I love living here. But I wish that we could make things without the need to hit a home run every single time. It's a unique thing to Hollywood that if you don't do that every time, then you're considered a failure. But it's like, 'Well, are you making movies to be successful? Or are you making movies to learn something?'
Once you decide that you're going to have the death of Spock, then how does that affect the other people? Why is it there? I got a lot of stick from a lot of people from the very beginning about the idea of killing Spock. Somebody said, "You can't kill him." And I said, "Sure you can; the only question is whether you do it well."
There are so many huge roles in the theatre: if you've got the option to play Hedda Gabler on stage, why wouldn't you choose that over a three-line part in a Hollywood film as somebody's maid or somebody's wife or somebody's best friend?
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