A Quote by Jeff Goldblum

The movie feels to me like a real work of lovely art. — © Jeff Goldblum
The movie feels to me like a real work of lovely art.
When I attended the University, I daydreamed about being a movie star. I would do my dressing room in Early American and give lovely presents to my make-up man and hairdresser for making me look so lovely, and so on. When I got my contract at 20th I was in seventh heaven, but I found out that a movie career is mostly hard work laced with disappointments.
Dying is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call.
There's a way of doing comedy that feels true to the person doing it, that doesn't feel like clown-work or silly faces and antics, but that feels real - like you're playing a real person who has real thoughts and feelings, and it's very grounded. I started to watch all comedy through that prism.
With a movie you're creating from the beginning this particular work, let's not call it work of art, because very few movies are works of art, let's just call them bits of popular culture, whatever they are, sometimes very rarely by accident a movie becomes a work of art.
The first time it happened I was ten. It was an accident. The second time I meant To last it out and not come back at all. I rocked shut As a seashell. They had to call and call And pick the worms off me like sticky pearls. Dying Is an art, like everything else. I do it exceptionally well. I do it so it feels like hell. I do it so it feels real. I guess you could say I've a call.
I love art because I feel that it's evidence of the great shared universal power. I like art that feels real, that cuts the bullshit.
I've never written a movie, I'm not in the movie business. I go out to L.A. and I'm like everyone else wandering around in a daze hoping I see movie stars. I write the novels that the movies are based on, and that feels like enough of a job for me.
As opposed to a movie [Real Steel] where everything feels fantastical, it was really important to me, and I recognise it's not the first movie with robots in it, but that blend of naturalism in performance, writing and design with the futurism of this sport. That was the idea.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
"Admission" is Paul Weitz's movie. This is Karen Croner - the screenwriter's - movie. To have such a lovely role in such a beautifully written script offered to me, it's like elves made the shoes.
People act like art is a white thing - or not for people of colour - when, really, so much culture and art comes from people of colour. I want everyone to get into what I am doing. So sometimes I don't like to work just in an art context because it feels like a lot of people aren't going to see it. I like it to be a part of everyday life.
I like to mix pieces in my art direction from the '60s or the '40s and the '90s and present-day stuff. To me, that feels very real. When I go into people's houses, it's not all today.
New York just feels real to me, and not everyone is in the movie business.
There's a real tension between it being a collaborative art process, which is almost like performance art of yourself, and, as we talk about the movie, it's kind of a mix between melodrama and cinéma vérité. This involves ideas about playing the role of yourself and the movie of your life and all these other things.
Actually, Nicole Holofcener's movies have always felt really right to me. 'Lovely & Amazing' is a movie about women's bodies that I feel is so truthful and painful and real.
Sometimes you have to think about what you're going to say, in real life, so when you see that thought process going on in a movie, it feels real and looks real.
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