A Quote by Matt Walsh
A perfect movie is a different thing, but a funny movie is easy. I was really happy that I got everyone that I got. Everybody got to play to their strengths and was paired up in the right scenarios. It was very fortunate. It was exciting, the whole process. It makes more difficulty in editing 'cause there's more footage, but the guy I had handle it was a documentarian editor for a long time, so it was very useful.
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I'm very pragmatic in that I know there are very few greats in anything. I got lucky just to have gotten two of the real great filmmakers very early on. Better to have had them than to not have had them. I've been really fortunate. That's the key relationship on a movie: the director and the actor. Of course, you can't compare the experiences. When you're in your early 20s, you're a very different person. It was a very exciting time, and my whole world was changing. Now I'm looking back, and hoping I can still offer something. Still do good work.
I came up with more money, took all the footage, got a great editor and made this film [Dream of Life]. But I really didn't go into it with the intention of making a movie.
Over time it just got more and more intense as far as the trust factor. For example, when we started editing the film [Dream of Life], I thought, man, I need to make sense of all the footage I have; I need to ground the film. And one day I was hanging out in Patti's [Smith] bedroom, which is where Patti works, and in the corner of her bedroom is this great chair, and that's when she began showing her personal things to me. The camera was there, and we realized that we were really making the movie and making sense of the footage in the movie.
I went through a very hairy period. I had a movie where I was going to play Walt Whitman that fell through. At the time, I had grown this huge beard and very long hair. But then, the movie got canceled, I had some other parts, and I currently have very short hair. So, when I look in the mirror, I don't know who I am exactly. It's interesting.
At the end of the day it's got to be a good movie, it's got to be a funny movie, and it's got to make people think, 'Hey, I couldn't have spent my time any better.'
Mo-cap work is less technical than you'd expect. Once you have it all set up you're free to do the whole scene in one take rather than doing a lot of different shots and different takes like you do in a movie. You've got that one go at it and you've got a lot of freedom. You can really express yourself - more like doing theatre than doing a movie.
I was familiar with 'Addicted' for a long time, even prior to the movie, way before it got the greenlight. And when it finally got the greenlight, I was very happy to be a part of it.
I directed and produced Conviction, a movie about a man who spent 18 years in prison for a crime he didn't commit. I got to know Innocence Project co-founder Barry Scheck very well - he's a character in the movie - and I got very passionate about the cause. It's just so inherently dramatic.
I'm very lucky in the sense that I've got a voice that's distinctive. Not good, but distinctive. That's a very useful thing to have in this business. I'm glad on the one hand that I've got it, but I wish it was more powerful. I wish I had a greater range. I wish it was more accurate at times.
[Sasha] for me it was a dream. I got to tell everybody where to go and how fast to get there. It was very exciting. It was still an Aaron Spelling show, with the hair and make-up and everything, but there were also motorcycles. For my life, at that time, it was such a perfect thing. I had all this inner anger to get out, and it was so exciting to get paid to do it. She had anger and sexuality and rebellion, but there was still that very sweet core. I didn't have to be something entirely unrecognizable or un-relatable. I just loved her to death.
I moved to New York to do theater, and I got cast in a play that was funny, and then I was the funny guy. I did a movie that was funny, and then I was the funny guy.
Everybody's got skeletons in the closets. Every once in a while, you've got to open up the closet and the let the skeletons breathe. Half the time, the very thing you think is gonna destroy you or ruin you is the very thing that nobody cares about. My advice to people with skeletons is to dust them off every now and then-- as long as your closet's aint full of them. It's not good to have more than two or three.
Being movie director you've got the art department, you've got the actors, you've got the camera department, you've got make-up and hair, and props. You've got your finger in all these pies, and you're making sure that everything cooks at the right temperature.
I mean the price of our technology may very well end up being our humanity, so I think you got to have that balance. Personally I try to do one for one if I can. Do a movie, do a play, do a movie, do a play - while at the same time writing and being in that cycle.
Donald Trump is a nice guy. He really is. Very personable. Sits there and talks to everybody. I'm happy. I like to see something new. I think it's exciting. He's got a great-looking family. His wife didn't look too bad. Not bad at all. This could be exciting.
This new crop of actors, they're larger than life people. I don't think that this generation has the same following that the last one had. You don't say "you've got to see his movie, you've got to see her movie" any more.
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