A Quote by Louis Leterrier
I'll tell you what, I had complete control on 'Unleashed.' I directed, produced, chose the musician, picked the costumes, and everything. I never had anyone saying, 'I don't like this and I don't like that.' The studio, Universal, were easy. It was this weird movie no one cared about.
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When we were shooting the movie, and of course in the editing room we had to make choices, but the shots fall almost exactly where we thought they would. They're not about content; they're never meant to be about what just happened. There's that weird phenomenon where the more you like a movie the more your mind wanders and goes all over the place.
I think I was lucky to be a little older when I became famous. But still, the shock of the world starting to treat you in a weird way... I had come from the army, where we had to deal with life or death, and suddenly, people were asking whether you were cool or not. I have never cared about whether I'm cool.
He always lived in his head. He never cared about how things were, only how they would be, someday, when he had everything he wanted. When we had everything we wanted.
I rang the bell and she opened the door, dried her hands, and said heartily: 'Hello, stranger. I was just saying to Cliff only tonight, it's about time you showed up around here.' I wanted to detach him from her, but first I had to sit through about ten minutes of her. She was my sister, but you don't tell women things like I wanted to tell him. I don't know why, but you don't. You tell them the things you have under control; the things that you're frightened of, you tell other men if you tell anyone.
There's a big difference between trolling and just attacking guys to attack guys, to get under people's skin, and to genuinely express how you felt about something. Like if I go to a movie for example, and I watch a movie, and I wasn't a fan of it. I don't mind turning to my family or some buddies I'm with and saying "oh man, I really didn't like that movie." But I've never acted or directed in my life. But I'm able to voice my opinion about whether or not I enjoyed it or not.
I look at John Lee Hooker and Muddy Waters, guys who had a fantastic longevity, and I learned something from them. They didn't try to sell records. They weren't saying, 'Ok, what can I write, what can I do in the studio that will sell?' They were just doing their thing, and people picked up on it. I like the idea of that.
I had no idea about where I was going. I had no sense of art as anything other than a problem to be fixed, you know, an itch to be scratched. I was in that studio trying my best to feel content with myself. I had, like, a stipend. I had a place to sleep. I had a studio to work in. I had nothing else to think about, you know. And that's - that was a huge luxury in New York City.
It had been awhile since anyone had made a movie like that [ Sausage Party], and it took them a long time to get anyone to agree to do it, because they were unwavering on the tone of the movie being so ridiculously filthy. Seth [Rogen] and Evan [Goldberg], for as successful as they are, this was their passion project that they couldn't get off the ground.
'Anchorman' was never supposed to be a popular, like, hit movie. That movie was a cheap movie - it felt like we were working on a weird independent comedy in a way.
My whole life at a certain point was studio, hotel, stage, hotel, stage, studio, stage, hotel, studio, stage. I was expressing everything from my past, everything that I had experienced prior to that studio stage time, and it was like you have to go back to the well, in order to give someone something to drink. I felt like a cistern, dried up and like there was nothing more. And it was so beautiful.
Men had always told Kaladin that he fought like nobody else. He’d felt it on the first day he’d picked up a quarterstaff, though Tukks’s advice had helped him refine and channel what he could do. Kaladin had cared when he fought. He’d never fought empty or cold. He fought to keep his men alive
Had we had all the money in the world to spend and we were doing another studio movie, we probably would have jumped quickly into the Necromonger universe and done an Orpheus Descending movie there. We didn't have that kind of resource. So, we said, this time, "If not that, this time, then what is it? What does this new movie look like?" Quickly, just in talking about it very simply with Vin [Diesel] in his kitchen, we decided on a survival, left-for-dead story, where Riddick could, as a character, reclaim the animal side.
Have you ever noticed that Jesus is never recorded as taking a holiday? He retired for the purposes of his mission, not from it. He was never destroyed by his work; he was always on top of it. He moved among people as the master of every situation. He was busier than anyone; the multitudes were always at him, yet he had time, for everything and everyone. He was never hurried, or harassed, or too busy. He had complete supremacy over time; he never let it dictate to him. He talked of my time; my hour. He knew exactly when the moment had come for doing something and when it had not.
I always like the studio best, once I got the hang of it and the control. I like it because it's complete control
We were doing press for this movie that my friends and I made for $5,000 called 'Brothers Justice,' that I also wrote and directed. And during the press of that, people kept saying, 'What's next, what's next?' And my best friend Nate and I - Nate produced it - we kept saying, 'Oh, we're gonna do a car-chase movie next.'
I read an interview with a Japanese freestyle jazz musician once, and he said something like, "Everything I'm going to tell you is not going to be true." He's not saying, "I'm trying to lie to you." But he's kind of saying that you can never say what something really is.
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