A Quote by Nobu Matsuhisa
One evening, Mike Myers and Steven Spielberg were discussing 'Goldmember,' and I just happened to joke, 'If you need a Japanese character, let me know!' The next day, they called me for audition! I find it's always helpful to maintain a sense of humour.
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Japanese train signs, station signs, are really representative of the Japanese mind to me, because it always has the station where you are, the station you were previously at, and the station that is the next station. When I came to New York, I was very confused. It just doesn't say where I was and where I was going. But I realized after a while probably most people don't need to know what station you were previously at. But I think it's just some weird Japanese mentality that we need to know, we need to connect the plot.
I must say Steven Spielberg was great to me, and I loved working with him. He called me up on the phone and was like, "I want you to be in this movie - 1941. There are a couple of parts. You can take whichever one you want. One of them is a main character who is involved in everything, and there's another character who has his own storyline and goes off on his own. He's probably the funnier, more unique character." I said, "Well let me do that second one."
You got to go back and look at it, what happened when Mike Singletary retired? What happened to the Bears for a while? They were trying to find that next guy. That was the hard thing was, they were they were trying to find that next guy.
I had written the script for Juno and apparently Steven Spielberg had read it. I can't just call him Steven, that's weird... Mr. Spielberg had read it and he liked it. He asked me if I would write this television show for him and I said, 'Yeah!'
I was in the sixth grade and living in Germany, when I was hanging out late with some friends. I turned around, and there's a dude dressed up as Michael Myers following us all the way home. It was the scariest thing ever, and it always reminds me of Halloween. In my mind, I was so young, so I really thought it was Mike Myers following me home.
I didn't have to audition. That's common, but it had never happened to me before. Normally, I hate auditioning. I need to stew and think... let the character develop and grow inside me.
I can't wait to meet Steven Spielberg or Al Pacino again so I can say, 'I have to tell you how you know me. You know me because I am the worst actor in the world.'
I didn't even really know who Tom Hanks and Steven Spielberg were, and my parents kept trying to tell me, 'Noah, what is wrong with you!? This is the biggest actor and director in all of Hollywood!' And then I was like, 'Who cares? Whatever.' I was nine; I didn't know anything.
I'm crazy about Steven Spielberg. Another inspiration for me, and I don't know where it came from, is children. If I'm down, I'll take a book with children's pictures and look at it and it will just lift me up. Being around children is magic.
What always made me proud - almost blushing with pride - is that Francis Coppola, Martin Scorsese, Steven Spielberg all told me that 'The Conformist' is their first modern influence.
For me, each one of those experiences stands on its own. The first one was with Steven Spielberg, who helped me to get an agent and vouch for me, and that gave me the confidence to continue.
When I won the Oscar, I fell into that mind-set that this is a precious role. People everywhere were shouting, 'Show me the money!' I just didn't want anything that could parody the fact that I was like a tagline in a movie. So when Steven Spielberg offered me 'Amistad,' I said no; when 'Hotel Rwanda' came along, I said no.
A man of knowing attains to a sense of humour. Let this always be remembered. If you see someone who has no sense of humour, know well that that man has not known at all. If you come across a serious man, then you can be certain that he is a pretender. Knowing brings sincerity but all seriousness disappears. Knowing brings a playfulness; knowing brings a sense of humour. The sense of humour is a must.
The great writers like Chekhov know that tragedy and laughter are just a few steps from each other ... but it took me a long time as an actress to learn that. Actually Arthur Miller taught me in the Seventies. We were making a CBS TV drama of his play Playing for Time about Auschwitz but the characters were laughing. It was a big insight for me to realise that that was what's called gallows humour, in this case worse than the gallows, that humans need to laugh and make jokes in order to survive.
By the time May rolls around, I'm probably going to want to spend a month on an island. But if Steven Spielberg or Steven Soderbergh or any number of directors were to say 'Hey, there's this role, are you interested?' I'd be there in a flash
By the time May rolls around, I'm probably going to want to spend a month on an island. But if Steven Spielberg or Steven Soderbergh or any number of directors were to say 'Hey, there's this role, are you interested?' I'd be there in a flash.
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