A Quote by Pedro Almodovar
The 1980s really ended for me in 1992 with the film Kika.
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I really liked 'Starter For Ten' because I grew up watching 1980s teen films like 'St. Elmo's Fire' and 'The Breakfast Club' and I've always wanted to play the underdog lead hero in a 1980s-inspired film.
There was one film that I really wanted. This was a long time ago; it was a film called 'Fracture.' Ryan Gosling ended up doing it with Anthony Hopkins. It wasn't a giant box-office success, but I really enjoyed the script, and I enjoyed the character. I got pretty close and was kind of disappointed it didn't go my way.
My favourite film is 'Tootsie.' I suppose that's because it's very much about my industry and I love all the jokes, albeit a slightly bygone age of the 1980s, a world that I really understand.
I really wanted to go onstage. Not movies. But I ended up under contract to Paramount. Now I adore film work.
Secured debentures of the non-convertible variety were the rage in the mid-1980s, but their glamour ended on their maturity when it became obvious that there was nothing secured about them.
When I originally auditioned for 'Hereditary,' I didn't think I'd get it because everyone there was, like, three years younger than me and had red hair - it was a very odd thing. When I ended up getting it, I was really excited because it was on my bucket list to be in a horror film.
I lived in New York City, and when I was about 24 in the 1980s, I decided to get out of here. I wanted to go live in Australia for a year or something, and it ended up being 18 years.
And you know, we did it as an independent film, and we weren't expecting it to be on television, and Lifetime ended up buying it. And the viewers responded intensely to that film.
It was a very difficult time, 1984. 'Happy Days' ended. I said, 'There's no way I can be a producer.' My attorney said, 'You'll learn.' The first thing we sold was the 'MacGyver' television series. We shot 139 episodes between 1985 and 1992.
In those days, the early 1980s, TV and film were interchangeable.
'The Custodian' was my first film, and there were so many lessons to learn in that week. It was really fun, but for me, I look at it as a training film, and I'm not really proud of my work in it.
I've wanted to work with my father for 30 years, and I'm really grateful that I finally had the opportunity, and it ended up - the experience and, I believe, the film - better than I could ever have hoped for.
When I see 'Sunshine,' I see a film that part of me is kind of very proud of and another part of me is very sad about, so it's a really complicated film for me. And I've never been really able to resolve all that in myself.
I'll never forget the first screening at the Berlin Film Festival. As soon as the film ended there was an outbreak of booing, which made us look at each other with some surprise.
Working with Marilyn Monroe on The Misfits (1961) nearly gave me a heart attack. I have never been happier when a film ended.
'Spinal Tap' is interesting because it created a genre of film and ended it - all in one motion. If you do a mockumentary, you are always going to be compared with that film, and you are never going to be as funny.
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