A Quote by Harold Ramis
Whenever a critic mentions the salary of an actor, I'm thinking, He's not talking about the movie.
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In Hollywood, whenever you do anything, it seems like there's going to be 30 of them. When I did 'Look Who's Talking,' people went: 'Oh but there's going to be this baby movie and that baby movie.' I can't worry about that. I can only do what I want to do.
When there's an actor involved, the actor's talking to the director or the director's talking to the actor. But when there are not those two people interacting, it's all one person in your own mind, you have to be so extra-clear about what you need.
What's actually amazing is that, after a couple of years of living with characters and writing characters and talking about characters, as we sit in the writers room and break episodes, it strikes you, every once in awhile, that you're talking about a character that's played by the same actor, who you've been talking about forever. We talk about a character dying, so you get emotional, and then you realize, "Oh, but wait, that actor is still on the show."
Whenever you're talking about meaning, basically... I think a lot of the human experience has to do with trying to understand what things mean, and there's not really any tools to do that unless you're thinking about it in a more spiritual or philosophical realm.
As an actor, you're not kind of thinking about your own work or watching the movie for the first time.
I'm thinking, this is Robert Redford. You know, he's won an Academy Award, he's talking to me about directing a movie he's in. So you just think that it's Hollywood stuff or whatever.
You can always tell an actor by the bored look in their eye whenever someone else is talking.
Whenever you get involved with talking about rights, you're talking about being a citizen. You're talking about being a citizen in capitalism; you're talking about what rights are granted to what identities, under what laws, and all that is a big mix. Marriage is, among many other things, a formality to channel capital through a family. And that's why the big DOMA lawsuit was about paying too many taxes! "I wouldn't have had to pay all these taxes if Theodora had been Theo" - that was the big tagline. It's all about protecting assets.
Critical thinking does seem a superior sort of thinking because it seems as though the critic is actually going beyond the scope of what is being criticized in order to criticize it. That is only rarely a true assumption because, most often, the critic will seize on some little aspect that he or she understands and tackle only that.
Whenever people talk about Don and I recording again, which almost everybody usually mentions, I always say 'Well, there's plenty of things that you haven't heard! Plenty of things out there to discover!'
In the movies first impressions are everything. Or, to put it less drastically, in the movies there are no later impressions without a first impression, because you will have stopped watching. Sometimes a critic persuades you to give an unpromising-looking movie a chance, but the movie had better convey the impression pretty quickly that the critic might be right.
The thing I've been talking about with daughter is the idea of - and I'm talking about essentially in America - the possibility of, a lost generation. I've been listening to a lot of music - as a fan, as a critic, as somebody who likes to dance - but I hear, you know, within these songs and half the people I hear, these philosophies encoded and embedded in these songs.
For me, I'm not in an industry where I'm starving. I'm so lucky to have this job, I'm compensated for my work in an incredible way. But what I do ask is when I join a production I want to make sure that the male actor isn't making four times my salary, which has been true, or seven times my salary. And if that's true you go, you know what, I don't need this job. It's not really asking for more - it's asking for something that is respectable and equal to the male actor and you have to go, why are women being valued less?
When I'm in the process of making a movie I'm not thinking about the finished result, and whether people have to see it once or more than once, and what the reaction to it will be. I just make it, and then I live with the consequences, some of which may not be as pleasant as I'd like! I know one thing, however. Many viewers may come out of the theater not satisfied, but they won't be able to forget the movie. I know they'll be talking about it during their next dinner. I want them to be a little restless about my movies, and keep trying to find something in them.
My children have gone to Catholic school... Part of their whole education is talking about the inner life and looking at your life, even though you're only 15 or 16 - thinking about your mortality, thinking about the value of your life, thinking about your obligations.
Basically, we [me and Evan Goldberg] started thinking about making a movie that was kind of a weed movie and action movie and had a real kind of friendship story to it, then that would be our favorite movie [Pineapple Express] ever.
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