A Quote by Mel Brooks
A cinema villain essentially needs a moustache so he can twiddle with it gleefully as he cooks up his next nasty plan.
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The train is roaring toward you and the villain is twirling his moustache and you're fussing that he's tied you to the tracks with the wrong kind of rope.
To be completely honest, it's shocking to me that I keep getting the villain roles! I do not see myself as the villain and I know, growing up, I was the opposite of a villain. I would never try to be a villain to anyone - but maybe other people I grew up with feel differently about that.
No one who cooks, cooks alone. Even at her most solitary, a cook in the kitchen is surrounded by generations of cooks past, the advice and menus of cooks present, the wisdom of cookbook writers.
No one who cooks, cooks alone. Even at her most solitary, a cook in the kitchen is surrounded by generations of cooks past, the advice and menus of cooks present, and the wisdom of cookbook writers.
I think a villain who starts his morning looking in the mirror, wringing his hands, and going, 'How can I be evil today?' is not an interesting villain. An interesting villain is a person who you understand on some level, I think.
You don't wake up in the morning and think, I'm going to be so bad today. I'm going to be a nasty villain to everyone. No, you just wake up and do your own thing.
American culture has a lot of great moustaches in its history. Mark Twain had a great moustache, Charlie Chaplin, Ben Turpin ... but Zappa, he's got the best moustache in American history. Got the moustache, right, and he's got that little thing on his chin, I think it's called an imperial, that is, like, the coolest thing. That's like one of the great icons of the twentieth century.
In any story, the villain is the catalyst. The hero's not a person who will bend the rules or show the cracks in his armor. He's one-dimensional intentionally, but the villain is the person who owns up to what he is and stands by it.
The good Lord doesn't tell you what His plan is, so all you can do is get up in the morning and see what happens next.
I watched films growing up, but no more than the next guy, really. Working on 'Hugo' made me appreciate cinema and the art of cinema a lot more.
My father always cooks more polenta than he needs for a meal. The excess he spreads on an oiled surface and chills. Next day, he cuts out chunks, fries them in olive oil and serves with salad.
If only-if only, Hastings, you would part your hair in the middle instead of at the side! What a difference it would make to the symmetry of your appearance. And your moustache. If you must have a moustache, let it be a real moustache-a thing of beauty such as mine.
The gladiator is formulating his plan in the arena or essentially Too late.
Twiddle-twiddle away at my softly clicky keyboard for a while, making twiddly adjustments all along- and then print what I have twiddled. Glare at the printout and snarl and curse and scribble almost illegibly all over it with a ballpoint pen. Go back to the machine and enter the scribbles. Repeat this procedure until I hate the very meaning of every word I know.
Indian cinema needs all ingredients like emotion, action, sentiment and humour; it's not easy. It's easy to make a Hollywood film, as it goes with a pattern. Our cinema needs a lot of commercial ingredients. That's why I don't do many films.
A horse that has made a positive change in his behavior needs an opportunity to 'soak', to concentrate on & digest what he has learned. He needs his quiet time. Given this opportunity, his response will be better the next time you work with him.
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