A Quote by Jason Mewes
I got a script sent to me at this office and I got a call from a woman - Universal's doing a snowboarding movie. I'm not in it yet, but I'm supposed to meet with the director in New York soon. I'm waiting to hear back from them.
Related Quotes
But I sent letters to people in the music business. And one day I got a phone call from somebody and he asked me when I was born and where I was born. And, you know, three or four days later I got a call. Someone said, you know, Yoko Ono wanted to meet me in New York. I got on a plane. And the next day I was having coffee with John Lennon.
The 'Degrassi' producers were very supportive. They sent me flowers when I got 'The Vampire Diaries,' and then as soon as it premiered and got the great numbers that it did, I got another large bouquet of flowers from them. Every time I go back to Toronto, I see them and hang out with them.
I started writing this feature comedy in New York - a Chris Farley vehicle. The script was decent. When I got to LA, I met some new friends in film school and had them read my script and give me notes.
I got to work with Robert DeNiro once and it was a strange experience. Gwyneth Paltrow and I were doing Great Expectations movie together and we were complaining about what a mediocre film experience it was. DeNiro showed up on set and all of a sudden the director got better, the director of photography got better - everybody got more interested and excited. DeNiro isn't waiting for other people to create the environment that he wants, he brings it along with him.
Gian Luigi Polidoro and his girlfriend had written this script, it was an American comedy, and they decided I was the guy to play the part. I was young, they offered me the lead in the film, and I said, "Sure, I'll do it." And I'm telling you, there is a movie waiting to be made about the making of a movie like that, particularly at that time in New York. I mean, we shot all over the streets of New York without permits. We would literally grab a shot and run. But Rent Control... I think the total cost was $100,000, and to this director's credit, I think it looks like $200,000.
After I made my hit in 'Salome,' Universal sent me to New York so I could learn to be a proper movie star.
hen Baillie [Walsh, writer and director] wrote the movie for me I wasn't doing what I'm doing today, so when we actually came to make the movie it seemed silly to change it. But who knows? That's the way things go. What was interesting for me - and what was always interesting in the script - was that you've got someone who appears to have everything, or at least has the opportunity to have everything, and he's f**ked it up, or lost it.
The way I pick movies is, first, if the script is any good. Then, if the script is good, who else is in it, the director, the producer, all that. If you have all that, there's a chance the movie will be great. If the script isn't right, or the director or cast isn't right, you've got no shot in hell.
I just got back from New York, and I realized in New York, it's very difficult to hear a New York accent. It's almost impossible, actually - everybody seems to speak like they're from the Valley or something. When I grew up, you could tell what street in Dublin someone's from by the way they talked.
The 'Degrassi' producers were very supportive. They sent me flowers when I got 'The Vampire Diaries,' and then as soon as it premiered and got the great numbers that it did, I got another large bouquet of flowers from them.
There was a certain moment. I was about 61 - two, three or four, and I got a script. And I sent it back to the producer saying - "I don't wanna do it. The part's too small." And he sent it back to me, he said, "You shouldn't read the lover. You should read the father.
I have been waiting around to get the right script and the right director. For example, in the past, if a Hollywood director came to me with a script and wanted me to play a character, and she was a stereotypical Asian woman who gets into a fight and gets killed off quickly, that didn't seem to have much interest for me.
I got a call from Shoaib Mansoor, and he asked if I'd be interested in doing the music of 'Bol.' I said, 'Why not?' and suggested we meet. When we did, to my surprise, he offered me the chance to act in the lead role. After reading the script, I was even more interested in doing it.
I had just come off my third consecutive failed television series. I had sworn off doing TV for a while. I was going to go to New York, sublet an apartment, and find my soul again. Before I got on the plane, my agent sent me the script for 'Psych.' I read it on the plane and realised it had a lot of potential.
I got all these books about, like, what you need to know to enter the entertainment industry. And I remember I sent my music to record labels, and I took these little DVDs and sent them all over the place. And either no one got back to me or they just kept saying, 'You're too different.'
What I look for in a script is something that challenges me, something that breaks new ground, something that allows me to flex my director muscle. You have got to think fast in this business, you've got to keep reinventing yourself to stay on top.
Related Authors
Arnold Schwarzenegger Quotes
Austrian
Actor
Benedict Cumberbatch Quotes
English
Actor
Bruce Lee Quotes
American
Actor
Clint Eastwood Quotes
American
Actor
Daniel Radcliffe Quotes
British
Actor
Dwayne Johnson Quotes
American
Actor
Jeff Bridges Quotes
American
Actor
Johnny Depp Quotes
American
Actor
Kevin Hart Quotes
American
Actor
Kevin Spacey Quotes
American
Actor
Leonardo DiCaprio Quotes
American
Actor
Rob Lowe Quotes
American
Actor
Robert Pattinson Quotes
English
Actor
Sylvester Stallone Quotes
American
Actor
Will Rogers Quotes
American
Actor
Zach Braff Quotes
American
Actor