A Quote by Noah Schnapp
It's pretty cool to watch a film where the character barely says anything but you can see exactly what he's thinking.
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I make a film - and once I've made it, everyone comes along and says 'Ah! This is a film that's political, or social', or whatever. But I'm not telling the story that they see. I made a film, told a story, but I wasn't thinking about exactly what it all meant.
I didn't watch much TV as a kid and I don' t watch it now. I don' t find anything beautiful or unique to the medium, and the only thing you can do on TV that you can't do in film is make a continuing story - which is so cool!
It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism. And there's so many expectations involved, too. You're going in to see the latest Martin Scorsese or Stanley Kubrick film, you really have high hopes, and you can't help but find that it's not exactly what you had in your head going in. Until you can watch it again, you can't accept the work for what it intends to be. It takes at least a second viewing.
Coach Graham rode you pretty hard, didn't he?" he said. I could barely muster a "yeah." That's a good thing," the assistant told me. When you're screwing up and nobody says anything to you anymore, it means they've given up on you.
Personally, I love going to see a film when you can really watch a character. If you've just read some article about who the actor is sleeping with, that's gonna be at the back of your mind all the time while you're watching the film.
Joanna is a strong female character, and I love playing her. But one of the things about her is that she always says exactly what she's thinking.
When I watch a film, I watch it as an audience instead of thinking as an actor or an intellectual. I see whether it made me laugh, get involved or shocked me at certain points. Something has to stir inside me.
The promos with all of the beautiful women probably attracted some men, but the mystery story line is pretty cool. It's got that dark edge, and people will watch anything funny.
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere.
I watch these actors who when you go to buy a pint of milk you see them smiling on the cover of 20 magazines. Then when you see them in a film it's hard to believe the character because you just see them everywhere
One of my problems with a lot of things I watch is that everybody's too pretty, and it takes me out of the film because I'm thinking that all these people look like I've seen them in a cafe in Los Angeles.
On stage you never watch yourself. You just experience it, and then you go home, and you feel pretty good if you gave a pretty good performance or crappy if you didn't. But in TV and film, you actually have to experience it while you're doing it, and then you have to watch it. And then when you're watching it, you watch it with a different sensibility than how you experienced it.
If we know exactly where we're going, exactly how to get there, and exactly what we'll see along the way, we won't learn anything.
I have done scenes as Harvey Two-Face. It's interesting. I won't tell you exactly what we're going for, but I think that I can say that it will use all of today's technology to create this character. He's going to be interesting, and I think that's what makes this character important in the movie-you get to see him as he was before, as in the comic books. Harvey is a very good guy in the comic books. He's judicious. He cares. He's passionate about what he loves and then he turns into this character. So you will see that in this film.
I'm not the writer who says, "You have to say it exactly as I wrote it," because you don't get good work. You want somebody who's going to bring something interesting to it and really create a character with you. You see that with certain actors.
You have to sort of see the way that the character behaves, and what the character says and does, and claim it in the same way that you claim anything, really.
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