A Quote by Joel Kinnaman
I love Starship Troopers. That's really smart. I think he really could portray fascism in a comedic way. It's funny because both José [Padilha] and [Paul] Verhoeven were accused of being fascists for their movies because they had fascist leads. So, it's not going to have his tone, but there's going to be political satire in it.
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Paul Verhoeven is one of my favourite directors. I love his ability to mash extreme violence with humour and satire.
To a certain extent everybody has a certain sort of way of being a persona that they learn how to be when they're really little. They figure out that if they're really funny, or really pretty, or if they work really, really hard or are really smart, then that's what's going to get them by. That is what is going to make people like them.
Me and Conan O'Brien and Robert Smigel and Dana Carvey wrote a script called 'Hans and Franz: The Girlyman Dilemma,' and it was going to be co-produced with Arnold Schwarzenegger, and he was going to co-star in it. We had a deal with Sony, we got paid to write it, and it was a musical, but it never got made because...I think Arnold kind of backed out at the last minute because he was getting cold feet because ;The Last Action Hero' had come out, where he was parodying himself. But it was a really funny script, and I wish it could've seen the light, because I think it would've done really well.
Some people feel that it's controversial if I say that because my dad is known as a political artist. But I don't really believe that he was a political artist. I think some of his songs were political, and I think they were incredible because he was able to make art that was political and that wasn't pedantic. But I think he was unique in being able to do that.
You're not always going to hit the bull's-eye. I'm going to make movies that work and I'm going to make movies that don't work, and that's just a part of being creative. Because really, I think if you're taking risks and you're pushing yourself and you're doing things that scare you, you are going to fall on your face, and it's not always going to work.
I think it's legitimate to do satire. If you're going to write a book of satire on Marilyn Monroe or Madonna, you're not going to get their permission, because you're going to make fun of them!
Coming of age in the 1960s, I heard the word 'fascist' all the time. College presidents were fascists; Vietnam War supporters were fascists. Policemen who tangled with protesters were fascists - on and on.
Of course you're nervous, but we're really excited to be able to share what we're going to share. And it's cool, because what we're going to be doing, I think for fans especially, we think is really cool, because part of the process that most people don't ever get to see [is] that before these movies are movies starring photo-real apes, they're movies starring the image of Andy Serkis and the other actors, who are playing apes.
Xavi was a big idol in my youth because he was smart in his head. He was not the biggest player because of his body length, but he was one of the greatest players because he was always smart in his mind. He had really good technique.
Everybody's been decrying the death of movie theaters for decades and, you know, people are still going to the movies in droves. It's gone down, but it hasn't gone down that much. I think the biggest change has been the emergence of cable and streaming on television. That has really had a dramatic effect, and I think it's a positive one. I think there's really good work going on there, and as movies stratify to being these gigantic tentpole movies, and small movies, I think it gives another outlet for character-driven material.
To know what Fascism really is we must first of all know what it is we are fighting, what the Fascist regimes really are and do, who puts up the money and backs Fascism in every country, and who owns the nations under such regimes, and why the natives of all Fascist countries must be driven into harder work, less money, reduced standards of living, poverty and desperation so that the men and corporations who found, subsidize and own Fascism can grow unbelievably rich.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
I think there's a lack of really, really good funny scripts out there that work on all the levels that they're supposed to - which is to say that they're not just funny but they have interesting characters that people are going to like and be invested in. I've done a bunch of movies that haven't worked but I like to think I've done some that have worked and that's because not only is the comedy there but the characters and storylines are interesting. The characters are real and relateable and people were invested in them.
I really love a challenge, but in 'Downton' it was really hard going because there's no CGI - what you see is what you get. These were real explosions right in front of our faces, and you just had to make sure that you cleared out of the way.
Sir Oswald Mosley thought his job is not just keep Britain from going to war with his beloved Germany, he saw it as his job to organize a complementary fascist movement inside the U.K. So, he formed this organization as the British Union of Fascists in `32. In 1936, they changed their name to the British Union of Fascists and National Socialists
You know what's funny is, when I made 'Saw,' I got accused of being a fascist; when I made 'Insidious,' I got accused of being godless, and now I made the 'Conjuring' films, and I'm accused of being too much God.
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