A Quote by Glen Powell
If I could make every movie with Richard Linklater, I would.
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A Richard Linklater set is truly Eden.
If film critics could destroy a movie, Michael Bay and Adam Sandler would be working at Starbucks. If film critics could make a movie a hit, the Dardenne brothers would be courted by every studio in town.
I saw Richard Linklater's film 'Slacker' for my twenty-first birthday. That was the moment when it all seemed possible. This guy gave me hope.
My process differs... my process for a Richard Linklater film is very different than a process for Training Day.
It would be great to make a movie that had the style of a great '30s film or a movie of David's Lynch or some other director I love that could also make money, because that would say to the corporation, "Yes, you can make money and still do art." But it's tricky.
Sometimes I feel like every movie I make could be the last. I know that's not really the case, but if I think about it that way and I'm very careful, then maybe I can build a career, movie by movie, that I'm happy with.
If I was one of the leaders...if I was just a leader of one of these studios what I would do is I would go to all my cohorts who run other studios and say let's make a deal. Let's each of us make three 3D movies a year or whatever the number is. Let's not take every movie and make it a 3D movie. Let's take our three tentpoles or whatever movie it is so you have a specialness to it.
Before Midnight is one of the years best movies. Full to the brim with humor, heartbreak, and ravishing romance. Richard Linklater directs with ardor and artistry. Ethan Hawke and Julie Delpy shine brilliantly. Heads up, Oscar. This ones a keeper.
'The Dark Knight,' 'The Rocketeer' and definitely the first 'Superman' movie by Richard Donner are the best. I tend to be softer in my judgment about what's a bad movie - I don't think anyone intends to make a bad movie, and sometimes it just doesn't click for some reason.
The funny thing about my films is that you can make little piles of them. You could make little piles of the movie that were family movies, you could make a little art movie pile, you could make a little action movie pile.
I would have been content with still playing Inmate #1. I worked on every prison movie made, from 1985 to 1991. I would go from movie to movie to movie.
The director Sofia Coppola's new comic melodrama, 'Lost in Translation,' thoroughly and touchingly connects the dots between three standards of yearning in movies: David Lean's 'Brief Encounter,' Richard Linklater's 'Before Sunrise' and Wong Kar-wai's 'In the Mood for Love.'
I always felt that if I made a movie, it would be one movie; I didn't see how they could make 26 swimming movies.
We've got the NSA getting logs of every call you make. The IRS is weaponized like Richard Nixon could only have dreamed of.
I make every movie like it's the last one. "If this was the last movie, what decision would I make?" That's how I make my decisions.
'The Sopranos,' for instance, is arguably the best cable show of all time. They could have made a movie, but that show ended so perfectly, it would almost be a disadvantage to make a movie like that. Then again, if you made a 'Sopranos' movie, people would be lined around the block to go see it.
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