A Quote by Morgan Neville
I've produced two docs for Cameron Crowe, and I've always loved him as a filmmaker.
Related Quotes
Who would have thought that [director] Cameron Crowe had a movie as bad as Vanilla Sky in him? It's a punishing picture, a betrayal of everything that Crowe has proved he knows how to do right.
I've always wanted to work with Cameron Crowe. I've auditioned for him several times for various projects over the last ten years, and I've always admired the way he worked with me.
I worked with Cameron Crowe, and I'd love to work with him again.
I worked with Cameron Crowe, and Id love to work with him again.
Cameron Crowe is someone who I've admired for so long, and I've been friends with him for many years, and I've wanted to work with him so badly that I just never stopped bothering him about writing a script that would be for a pilot.
As a young actor, I found myself in all these movies at once, with two big trilogies and a Cameron Crowe film and working with Ridley Scott a couple of times.
You don't improvise with a Cameron Crowe script.
I'm always begging people like James Brooks and Cameron Crowe to come to screenings, to see what they make of it, and they're always ridiculously helpful. They also keep me brave enough to commit to what I'm trying to do. They can be great cheerleaders for risk-taking.
My mentors are people like Cameron Crowe and Carrie Fisher.
I would love to work with Cameron Crowe; he's definitely one of my favorite directors.
Cameron Crowe can write dialogue and shoot it with warmth and humor like nobody else.
I love Cameron Crowe's 'Say Anything' and 'Almost Famous.' I think those are really great coming-of-age movies.
James Cameron has always been one of my favorite filmmakers. The first 'Terminator' is such a phenomenal film. It's not just that, though - he's also a very interesting person, James Cameron. It's fascinating to talk to him about science and engineering.
For me, the best high school movie is, like, 'Fast Times' and what Cameron Crowe is like.
With docs, there's often a very direct communication between the filmmaker and the audience. With narrative movies, we leave it a little bit more open.
Docs, in general, are made in the edit bay, archival docs even more so.
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