A Quote by James Marshall
I was doing 'Twin Peaks,' and Columbia called and said they wanted me to do 'Gladiator.' I thought it had the potential to be a real commercial film, so I was like a kid in a candy store.
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Making movies is eating candy. It's a very expensive candy, so you value when you can do it. So when you can do it twice at once, it's like, you know, a kid in a candy store!
In a sense, 'Twin Peaks' never really went away. They've got a 'Twin Peaks' convention up in Washington every year, and I'm pretty much recognized on a fairly regular basis from 'Twin Peaks,' so I feel like it never really got too far away.
After I won the Tony Award, the film floodgates opened, so I was like a kid in a candy store.
I was a kid in the third grade ... saw a dummy in the toy store. In the '60s and '70s there were a lot of those vinyl ventriloquism dummies - just about every toy store had one. Everyone close to my age that I've talked to, especially guys for some reason, tell me that they had one too, but they said they never could do it. So many people come up to me and say that. It was just something that I thought was cool. I started doing book reports with it - I developed the skill. I easily got A's on all my reports. It was just something that a little kid grasped on to - so I stuck with it.
I've always said that 'Twin Peaks,' to me, was like a novel we filmed every page of.
On my first visit to the public library, I was like a kid at a candy store where all the candy was free. I gorged myself until my tummy ached.
If I dream that I'm directing, it's not a film, it's like a commercial for cotton candy, and I've got four feet of cotton candy all around me that I've got to break through, like a brick wall or a fortress.
The first thing I think I ever played in public, aside from singing in church, would have been - and this is a true story - when I was about nine or 10 years old, I was obsessed with Twin Peaks. I played the theme from Twin Peaks on a little tiny Casio keyboard. People politely applauded. I just fell in love with that song and thought it was very heartbreaking.
Having previously graduated from a 2-year commercial arts class, I thought that commercial illustration was the best way to make a living doing art. But the more tattoos that I did, the more I realized what artistic career potential tattooing had and I enjoyed it.
Before I made 'Sweetback,' I had a three-picture deal with Columbia and enough juice, if I was real clever with it, to proclaim that I wanted to do an independent film.
A little dark chocolate in small amounts often helps lift me out of those blue moments. When I walk into my favorite store on Union Street in San Francisco that sells high-quality chocolates from around the world, I feel like, well, a kid in a candy store.
Jerry Bruckheimer is the most hands-on producer that I've worked with. Jerry's very involved in the music, and he's such a fan of film. When you watch him playing back the cues to the picture, he's like a kid in a candy store.
I never said that I wanted to be an actor when I was a kid. I didn't know. I thought I was going to be a singer and musician. That's what I had been doing, for a huge part of my life.
My first professional audition - god, I've never told anybody about this - was for a test commercial, I think it was for Xbox. It involved me getting kidnapped by a granny who wanted to play the Xbox. It was very weird and I definitely had no idea what I was doing. I actually got the gig. It wasn't a commercial; it was what directors did when they wanted to show the company what they would do with a commercial.
The thought of a man being the murderer of his own daughter in the Twin Peaks was anathema to me. At the time, I had a 2-year-old daughter of my own, and that possibility really turned me off. I was praying that I wouldn't be the one.
John loved celebrity. We attended an American Film Institute dinner honoring James Cagney, and the room was filled with famous actors like Mae West, Kirk Douglas, John Wayne and Steve McQueen. John was like a kid in a candy store.
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