A Quote by P. J. Soles
The Jawbreaker writer-director Darren Stein was a huge fan of Carrie and Halloween. He was like a kid. He was 26, so he was such a fan. He wanted William Katt and I, from Carrie, to be in the movie as the parents. We had a little bit more that ended up on the cutting-room floor, but that was kind of fun. Everybody that worked on that movie was really cool, including the girls, especially the new girl, the blonde, Judy Greer.
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Carrie was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer. He was banned from the set, but that was kind of an A-plus production. So that was my first experience.
When I was a kid I was a big fan of the Universal Monsters movies of the 1930's and the 1940's. I loved movies like The Wolfman (1941) and Dracula (1931). I really wanted to be in those movies. Eventually I started nagging my parents about it, and it turned from, "I wanna be in a monster movie! I wanna be in a monster movie!" to "I just wanna be in a movie." So I think my parents just thought that if they took me to one audition I'd see how boring it was and I wouldn't wanna do it. But I ended up getting the part, and I got a bunch of roles after that as well.
I'm a huge country music fan, and there are so many girls that I look up to, especially Carrie Underwood, which everyone knows because I've shouted it out for a while now.
'Carrie' was a pretty big-budget movie at a real studio, with a director that had already done a bunch of things and had some notoriety, and Stephen King was the writer.
That was pretty cool [Life With Mikey]. Michael J. Fox at the time was huge. I was like, "Whoa, he's a real bona fide movie star!" I was a kid. It was a huge deal. That's kind of it. We shot it in Toronto, and a little bit in New York.
I remember telling myself when I got to start having artist opportunities, 'Let yourself be a fan, because you are. The minute that you walk in a room with Carrie Underwood, and you're too cool to freak out, you need to check yourself.' I just let myself be a fan.
It was fun to play that surreal high school life [in Jawbreaker]. I was a huge fan of the movie Heathers. But I think at the time - you know, when the movie was released, it was a very limited release, and it didn't do very well at the box office. And I love the fact that it has found legs and that the audience has kept growing and growing over the years.
I was a huge Spice Girls fan when I was a kid. When I was younger I had a Spice Girls poster on my wall and I watched the movie.
J. G. Ballard is just an example of the writers I like. Philip K. Dick is obviously one of them. I'm a big fan of William Gibson as well. He started cyberpunk with 'Neuromancer.' I've come to know him a little bit over Twitter, of all places, and I was always a huge fan of his. It's very cool to know he even knows I exist.
So when it came to making the movie I guess I had a really good sense innately of what it was that makes Halloween really great. In that it is a holiday for everybody now. When I was a kid I felt like it was mostly for kids, maybe that's just the way it always is when you're a kid, but I think now more than ever it's for grown ups too. When I was a kid I don't think there were quite as many sexy adult costumes and we definitely didn't have all these Spirit Halloween stores that pop up every October.
With Halloween, the director was this genius wonder boy who was the writer, director, producer, along with his girlfriend. They were this team, and they were making this small movie, and it was just completely different, but it was really inspiring and a lot of fun, and also allowed me to do a lot of improvisation, because they just depended on the girls to expand their parts to bring some real life, being girls ourselves, to the characters.
I'm a huge 'Nightmare before Christmas' fan, but that was also Henry Selick. I'm a really big fan of 'Sleepy Hollow.' I love 'Big Fish,' too, which is a bit different. There's a really cool era of early-Burton stuff like 'Ed Wood' that I'm a big fan of.
With 'Duplicity', I was a little bit like, 'This isn't that hard of a movie.' This isn't like some huge brain trust of a movie. You gotta be a little bit awake to follow the plot, but it's really just a kind of light entertainment. It's like those Cary Grant movies, which are not meant to be anything other than diverting. In a nice way.
We're not allowed in the cutting room - and that's extraordinary. So, when a director is asking for certain nuances and colours and we feel that they're phoney, but we do it because the director asks for it, that's the one that they pick in the cutting room. And I contend that when you see a movie with bad acting, don't blame the actor... blame those guys in the cutting room because they like that take.
I remember doing one day of work, and I was so good I ended up doing 25 days on that movie. And all of it ended up on the editing room floor. That was my first Hollywood lesson: Just because you filmed a movie doesn't necessarily mean that you're in it.
I used to be a huge fan of Heavy Metal magazine growing up, and I was exposed to Cobalt there and fell in love with the character and the world. I've tried to track it down and pursue it myself to make a movie out of it. Also I felt like the thing that's cool about Cobalt is it does have a culty kind of underground quality to it that I really like.
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