A Quote by Linda Blair
Warner Brothers had to hire [a stunt double] and no one thought a child could do this. Billy Friedkin came to me before we were filming [The Exorcist] and said "if you do not do all of this film, the film will be a joke." It's why they stripped the makeup down to the bare minimum, a piece on my chin, piece across my mouth that disfigured my mouth. You have scars here. Take away my eyebrows. It was my real hair. Shampoo was put in it that dried.
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His words were still clear in her mind from that first meeting. "Whoever eats this will love you." She looked into the mirror, at her birthmark, bright as blood, at her kiss-stung lips, at the absurd smile stretching across her face. Carefully separating out the crushed pieces of shell, she pulled the dried pulp free from its cage of veins. Piece by piece, she put the sweet brown fruit in her own mouth and swallowed it down.
He had black hair anybody could see was dyed, and even had one long piece wrapped around his head in that way some men did to fool no one into believing they weren't bald. I resisted a sudden strong urge to tug away that piece and scream peekaboo! at his bare crown underneath.
Hello, ladies," Joe Solomon said, but not before I snatched the piece of paper and crammed it in my mouth, which ordinarily would have been really great spy maneuvering except that Josh didn't use Evapopaper. "How's the lasagna?" Mr. Solomon asked, and I started to say something before I remembered that my mouth was...well...otherwise engaged.
I remember so clearly, in the early days, if I had to do a piece of press, they'd phone for me and say, 'Oh, we're going to bring hair and makeup, it'll take about five hours.' And I said, 'Well, if it was Ian McEwan, would it take about five hours? Would there be hair and makeup? Cause if that's not the case, then don't bring the hair and makeup.' So, it's fascinating that they just assume: it's a young woman, she must want to be photographed for five hours. She must have nothing better to do than delight in trying on all your shoes. But it's not the case.
For my very first movie, 'Roger and Me,' I made it as part of my deal with Warner Brothers that the four people that were evicted in that film, that Warner Brothers would house - would pay their mortgage or their rent for the next two years to give them a chance to get on their feet.
I had the opportunity to go cast for a Hollywood film that was filming in Thailand called 'Mortal Kombat 2.' Out of 100 people, I was cast to be the stunt double for Robin Shou.
I really approached the film as if it was a white big piece of paper and I was going to draw a picture on it. And whether that picture was good or bad, whatever people thought of it, what they could never take away was that it was my picture.
I didn't fall into the category of the 'classic Bond girl.' I had short hair - and no Bond girl before me ever had. They put me in a wig at the beginning of the film, and then had my character cut her hair to pretend to be someone else. That was to explain why my hair was short.
I stole a piece of the chess set on the first film. I took a piece of the treasure out of Bellatrix's vault on this film. And I've taken my wand and I've got my cloak.
My job is to make a film that can sit as a standalone piece, that if it's the only Marvel film you see, it's a great film with a great story in and of itself. The lucky thing is that there's a bunch of geniuses who run Marvel that make sure, even if it's a standalone piece, that it's part of a great big jigsaw puzzle that could be appreciated as a whole as well.
The Canary Islands offer special incentives to companies looking at potential filming locations, so it was only logical for me to help the local government make connections with major U.S. film studios like Universal, Fox, Sony, Disney, Paramount, Time Warner, 21st Century Fox, CBS, Viacom, Comcast, HBO, Netflix, Warner Brothers etc.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
'Simon' was always a word-of-mouth book. When it came out in 2015, I don't know that anybody thought that 'Simon' could be mainstream. Publisher Harper Collins loved it in-house, but it wasn't a lead title. Nobody is more surprised than me that it's a film. It's the little book that could.
Twenty years ago I brought young, unknown film maker Joe Wright with me to a private show of 'Nil by Mouth.' Gary Oldman asked me if he was any good. I said, 'give it a few years and he'll direct you in a film that will win you an Oscar.'
My first film, 'Like Minds,' was with Toni Colette, who was extraordinary. I mean it was basically a mini-masterclass for acting on film at a time when all you could probably see were my eyebrows bouncing up and down on screen.
If you've got a great crew it's intense, but its quite short. 'The Elephant Man' was longer than most, for an independent film. That was a 14 week film. But it was because of the intrinsic difficulties. We had to invent a different way of filming, because the makeup was so long. A working day for me with a full makeup on was nineteen hours. So obviously you couldn't do that twice running.
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