A Quote by Justin Chon
I did this one movie with a great director named Wayne Kramer. It was 'Crossing Over,' and Harrison Ford, Ashley Judd and Ray Liotta were in it. I was one of the leads, and I thought this was it. It got shelved for two years, and then it was in theaters maybe a week. After that, I adopted a philosophy of, 'Hope for the best, expect the worst.'
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I was named on the worst-dressed list at the Grammys a couple of years ago. I had on Tom Ford, and I thought it was the most amazing dress ever. But I got put on the worst-dressed list. Luckily, at least I was pictured alongside Adele, J-Lo, and whoever - all these superstars who were also called worst-dressed - so that was a good thing!
Years ago I was in a band called Two Lane Blacktop - we deliberately named ourselves after the 'Two-Lane Blacktop' movie, 'cuz it's a car chase movie. All our songs were based on movies, every single song. I love movies, and that was something that me and the singer in Two Lane Blacktop bonded over - we were design students together, we did a film-class together, so we became obsessed with movies. It's followed me around ever since then, it's a constant theme.
In terms of Ray Liotta, when I was a teenager growing up in Colorado, I didn't have pictures of girls on my wall. I had pictures of Ray Liotta on my wall. Along with Mike Patton, he was one of my heroes.
Working with them was a great experience. Victor Garber, Stephen McHattie and Ray Liotta - they were all bang-up.
I think Ray Liotta in 'Goodfellas' is the best ever. Given that it was two hours, it was a little bit more theatrical, and I mean that in the most positive way.
Younger audiences are into me because I did 'Stuart Little,' and that movie was a very big deal for kids. And in 'Angels in the Outfield,' a generation of kids learned about magic and angels. And then, of course, there are these two blond girls named Mary-Kate and Ashley Olsen, and I played their nanny on their TV show.
When you get to work with great people like on our movie, Blake and Ellen Burstyn and Harrison and Kathy Baker, Amanda Crew, the first minute or two it's like, 'Oh my God, I'm working with you,or Harrison,' people you've admired for so long, after like five minutes you realize we're all trying to do the same thing, we all have a passion for telling good stories and we're going to try to make the story the best possible.
I adopted two children, then I got eye disease and five rounds of surgery. I went blind in one eye, then the other eye, and that went on for three or four years. I got very enamored and involved with the theater and did a lot of plays.
Growing up, my best friend was the movie theaters. I'd go to the movies every week, multiple times a week, with my dad or alone.
My job, as an actor, is to give the director options. You can only hope that the takes that you thought were the best were chosen. But, then again, if I don't watch it, I'll never know.
It [TV] is the cancer of film. It's why people can't be educated to film. In the late '60s, we expected to see a movie or two every week and be stimulated, excited and inspired. And we did. Every week after week. Antonioni, Goddard, Truffaut - this endless list of people. And then comes television and home video. I know how to work exactly for the big screen, but it doesn't matter what I think about the art of movie-making versus TV.
I just did a part in 'Sin City 2.' I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me... I'm so excited about that; I think it's gonna be very cool.
I just did a part in 'Sin City 2.' I got to do a scene with Ray Liotta. Amazing man, extraordinary gentleman who was just so kind to me... I'm so excited about that I think it's gonna be very cool.
In my opinion, visual effects are great when it compliments a good story, and action is great when it compliments a good story, but just to have them for the sake of having them, it gets a little boring, especially if you're talking a TV series. At least with a movie that's an hour and a half to two hours, you see it and you're impressed, and then you're out. With a series, if it's only that, week after week after week, there's nothing there to bring you back. You have to get invested in the characters and care about them and want to follow them.
Tom Paine was a great American visionary. His book, Common Sense, sold a couple of hundred thousand copies in a population of four or five million. That means it was a best seller for years. People were thoughtful then. Hope is one thing. But you need to have hope with thought.
Movies don't sit in the theaters for an entire summer like they did in 1982. Now you've got a two- or three-week shelf life so you need to have that awareness right off the bat. And in order to make a lot of people know about your movie, you need to be out there banging the drum and showing your stuff.
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