A Quote by Nicholas Stoller
And there's so much extra material. I mean, I've certainly read as you asked about do I read reviews and stuff, like people are like none of the jokes in the trailers are like in the movie. And it's like and we have whole sequences and scenes that weren't in the movie.
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I don't read good reviews. I like to know what percentages are going on. When Sony sends out something saying that people are liking the movie, I like to know that, but I don't actually sit and read the good stuff.
I really hate people that spoil stuff by putting scripts online. I don't mind so much people that do movie spoilers when the movie is out in the theater. If you haven't gotten there the first weekend, it's on you to not read reviews or anything. But to put up screenplay reviews just kills me.
I read fantasy books like the Harry Potter books, 'Twilight,' also biographies, and I like to read about people who have been through stuff like wars or lost their families - real life stuff, you know? I like to read about their experiences and how they coped with that.
When I auditioned for 'Pitch Perfect,' I didn't know it was a singing movie. I didn't read the script. I go to the audition, and I'm like, 'Oh, it's a baseball movie.' But then I'm reading the lines, and I'm like, 'This doesn't seem like a baseball movie.'
I think it took me seven years before I got the script for 'Frozen River.' That's the movie I had been looking for my whole career. When I read that, I knew I had to shoot that movie - that it'd be a game-changer. It was one of those scripts where I read it, and I was like, 'This movie could get into Sundance.'
Francis Ford Coppola did this early on. You tape a movie, like a radio show, and you have the narrator read all the stage directions. And then you go back like a few days later and then you listen to the movie. And it sort of plays in your mind like a film, like a first rough cut of a movie.
I read the script for 'Somnia' when I was filming 'Oculus,' and I remember calling my manager going, 'I really need to do this movie,' and he's like, 'How about you finish this one first and then you see it?' I was like, 'I don't need to. I don't need to. You need to read this. I need to do this movie. The script is very good.'
I feel like the books were just written like a movie. You read it and you can just kind of see everything. Before I went in to read with the director, I read the first book and I loved it. I didn't realize how good the writing was. And then I went in and read with Gary Ross, and that was it.
I don't like, speaking about the movie, if I may say couple more words, I like a movie that doesn't drag too much, unless it's purpose. I like a movie with an action with a certain pace. If it's too monotone, I hate it. No, I don't hate it, I just don't like it, period.
I would like to perform more in English. But there have to be many good things gathered for me to be willing to do a movie. I watch trailers of every new American movie and I'm, like, 'OK, I'm not missing anything!'
For me, the reason to make the movie is that if people like the comic, then people would like the movie if it was well made. There are good movies for them, but very few. And I mean that in a true sense. If they love your story for freaking 30 years, then they can do a movie about it.
The whole first movie [Twilight] was pretty fun. I had never really done a movie like it, when there's such a big cast of people that are around about the same age. Everyone didn't really know what was going to happen with the movie, but there was a good energy. There was something which people were fighting for, in a way. They wanted it to be something special. None of us were really known then, as well. It felt like a big deal, at the time.
I like what I read, I find it intellectually engaging and I don't really have that much time, so I gotta make every bit count. I read magazines and stuff like that, but if I'm going to read a book, I want to come out smarter. It's not to escape, it's to learn.
I mean we certainly always shoot a lot of extra material, but our goal was to make kind of like a big kind of rock-and-roll road trip comedy that has heart and that has hopefully you feel bad for Russell and you feel bad for Aldeus and also I wanted to surprise people with some of the turns in the movie and I think when I watched it with audiences they certainly...the reactions made me think that we did and so all that I'm just very excited about it.
When I read Matt Ruff's book, that was my first encounter with learning about sundown towns, and I was like 'What?' Like, you can't make this up. If I wrote this horror movie talking about sundown towns where you can't be black after dark in America, people be like, 'OK, we get the metaphor,' and it's like, no, that's real. It's not a metaphor.
I think if you're going to read reviews, you have to just concede that they are all right. And I think I read two very diametrically opposed reviews about my movie and I had to go, yeah, I agree with both of them.
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