A Quote by Richard Schiff

I was doing a play out in L.A. 20-some-odd years ago called 'Goose and Tomtom' by David Rabe, and somebody saw it and the next thing I know I'm doing the table read of the film version of 'Glengarry Glen Ross' with Al Pacino and Jack Lemmon - one of the great films of our generation.
I've had a great love for Al Pacino's work since I first saw him on the stage doing 'The Indian Wants the Bronx' in the early '70s. His work is remarkable. He's the real thing.
I suppose it's nice that I've made films that some people have heard of and respect. That's great. And it's certainly helpful in some regards, but they're really tough economic prospects. They always have been, and that's not necessarily getting any better. And not just the films, but it's also been a rough 10 years for that independent film market. And so I have stumbled onto this point in the timeline where the kind of stuff that I'm trying to do is not... it was a lot easier to know what to do with it 20 years ago.
I grew up and I've worked with people who have been very present, a) either always jumping to whatever is most modern technologically advanced sort of thing, or b) people in this industry, like Kevin Smith, who, his communication with his fans is hugely connected to his success. And he was talking about that years ago. And David Bowie was doing that years ago. And Prince was doing that years ago.
Don't ask me to explain a mystique. I'm just enjoying all this while it lasts. I'm basically doing the same thing I was doing 20 years ago.
Music is changing. I'm just doing what I'm doing, and hopefully in the next 20, 30 years, some kids can take what I'm doing and change it again. If the music doesn't move, then it's dead.
Both 'Consenting Adults' and 'Glengarry Glen Ross' revolve around the economic stresses of the '90s. They are about what people do when they're pushed against that wall, and how they're manipulated. They are both morality tales, though in very different genres.
I met Jack Bruce, one of my heroes, in a studio while doing some recording. England had just beat Scotland in a big football match and I saw Jack trying to break into this refrigerator in the lounge, drunk out of his brain, and I didn't know what to say.
Tom Hanks, Brad Pitt, Al Pacino, Russell Crowe - these leading men. These are the ones I grew up with. And Hugh Jackman. I love everything that these guys are doing. It's kind of been my mission to be an Asian-American version of that.
I like 'The Usual Suspects'. Great film. I also like 'Scarface', films like that. Lots of gangster films. I really like watching all kinds of films, dramas, romance. I'll watch comedies. I like Al Pacino, Robert De Niro, Denzel Washington, Chris Rock, Dave Chappelle. I'd like to meet them.
We were really into what Cliff Martinez did with 'Drive;' we were into what Trent Reznor and Atticus Ross were doing with David Fincher. When I read about how they worked with David Fincher, they're composing hours and hours of music and then he's working and figuring it out.
I'm a big fan of all the great movie devils, from Walter Huston to Ray Walston to Al Pacino to Jack Nicholson.
In some ways, you're always redefining your craft and figuring it out, but in some ways, I almost feel I'm going back to what I was doing 20 years ago.
I did have a sense of parental pride in that character. For 20 years now my films and the TV show have been the only version of Peter Parker. So I wanted this new version, for a new generation, to be really good. I still care about it.
The problem is we don't know what the climate is doing. We thought we knew 20 years ago. That led to some alarmist books - mine included - because it looked clear-cut, but it hasn't happened.
I always wanted to do films. I'd gone to New York early in 1976 and did a lot of theater, but I really wanted to chase the paths of people like Pacino and Lemmon and those guys. Alan Arkin. Film was where I wanted to go.
When David Fincher called me up a few years ago and said, 'Hey, I'd like you to score this film 'The Social Network,' I said, 'I'm flattered, but I really don't have any real experience scoring films, and I'd rather not screw it up on a high-profile project. And I like you and I don't want to compromise our friendship.'
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