Working on 'Raising Hope' is a very hurry-up-and-wait activity, and I just always liked the idea of being as productive as I can be. I write because I don't just want that time to dissolve, where I'm sitting in a trailer staring blankly at the paintings of moccasins that came with the trailer.
I went to watch a movie in a theater, a couple weeks ago, and the trailer came on. My face is in the trailer, and then my name came up on the credits, and this is the dream you dare to dream, that came true.
I had to be on the set for 'Who Framed Roger Rabbit' because my character was interacting with Bob Hoskins. It's a lot of 'hurry up and wait.' So there I was, at 2 a.m., sitting in a trailer at Griffith Park trying to stay awake. And I said to myself, 'This stinks.' The way I do it is better. I go into the studio about 10 a.m. There's no makeup to worry about. I can wear whatever I want. As soon I get there, I'm good to go. I record my stuff and go home.
I do love acting the two seconds that you are in front of the camera - and this is going to sound like I'm complaining, and I don't want that because I'm blessed to even have a job - but there is a lot of down-time when you're just sitting in your trailer.
You were there all day long, 12 hours a day. So there was none of this, 'I'm going back to my trailer, my trailer's bigger than your trailer,' that kind of Hollywood nonsense.
I have a bag with a toothbrush and toothpaste and all the things I might need during the day. I call the bag my trailer. Sometimes you don't have a trailer, so that's my trailer.
In many ways, a teaser trailer these days has just become a short version of the full-length trailer, as opposed to something that grabs you and teases you and makes you go, 'Whoa, what is this?'
The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
The beating heart of your story that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
If you're not grown up enough to understand that a trailer is not done by the director, then fine. Judge the movie from the trailer.
When we were all kids, there was one particular trailer that I think we can all remember. That was the trailer for 'Close Encounters of the Third Kind.' There was an amazing teaser trailer with all this weird kind of documentary footage. We were like, 'What was that! I've got to see that! What the hell was that?'
I like the idea of raising a kid in my trailer. My mother was an actress. I grew up in theater with her in Brazil. I would play with set dolls. And I loved it.
Shooting at Quentin Tarantino movie was like a masterclass in directing. Although I went back literally right into rehearsal, started shooting... while I was doing it I had to write my Grindhouse trailer and I added two days of shooting. My brother was producing Hostel and the Grindhouse trailer and I was like: "Gabe, just figure this out!"
A lot of times, you watch a trailer for something, and then by the time you get to see the actual movie or show, you realize that the best parts were in the trailer.
I didn't want to be looked at as a below-the-poverty-line kid. But now I think, that trailer is where I got the ambition. The anger. If we had a better life, I wouldn't be here. That trailer made me.
I grew up pretty much living in trailer houses. The third and final trailer house was called an 'Expando' because you could actually crank it open from 8 feet to 15 feet wide. It was a virtual palace for my brothers and I.
One of my biggest disappointments is watching the trailer for the second Lord of the Rings film and having Gandalf in it. Why? He died in the first one, why give it away in the trailer just to try and sell 1000 more seats? It's daft.