A Quote by Robert Englund
I know sometimes when I go to a convention or a film festival occasionally people bring me really valuable and really rare memorabilia that I have never seen before.
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If I hear a film clip, or I happen to see some image from a film - you go to a film festival, and they show some clip of the movies you've been in, most of the time I sit there and go, "Oh God, I should have... should have... that was terrible." But I think that's a natural part of this work, because really, your work is never over. Of course I can leave it alone and walk off the set and never think about it again when it's done. But your work is really ongoing all the time.
Even people that know Johnny Cash's music really well and know that he was married don't really know that much about June Carter. So finding out about her really helped to inform my performance and to bring her to the front in a way that she has never been before.
There are rare occasions when I inevitably have to go out. And when I do, people come up to me to say they're really glad to see me, and that they're really proud of how more people got to know about Korea because of us.
Before my commercial career, I never played for more than an audience of 99 seats somewhere in downtown New York, but occasionally someone would recognize me in the subway and say, "Oh, I saw you in that play, you were really great in that," or "the director was really something." It becomes a conversation. When people spot me on the street from my work in commercials, there's nowhere for the conversation to go. Obviously I'm an actor and I can't.
I think one of the reasons younger people don't like older films, films made say before the '60s, is that they've never seen them on a big screen, ever. If you don't see a film on a big screen, you haven't really seen it. You've seen a version of it, but you haven't seen it. That's my feeling, but I'm old-fashioned.
All existing things are really one. We regard those that are beautiful and rare as valuable, and those that are ugly as foul and rotten. The foul and rotten may come to be transformed into what is rare and valuable, and the rare and valuable into what is foul and rotten.
All existing things are really one. We regard those that are beautiful and rare as valuable, and those that are ugly as foul and rotten The foul and rotten may come to be transformed into what is rare and valuable, and the rare and valuable into what is foul and rotten.
I met Michael Snow and Stan Brakhage the second day after I arrived, you know. I had never seen or heard of Brakhage. For me, it was a revolution, because I was well educated in film, but American-style experimental film was known to me in the abstract, and I had seen practically nothing. I had seen a film then that Noël Burch had found and was distributing called Echoes of Silence. It was a beautiful film, three hours long. It goes forever and it was in black and white, very grainy, and I saw that film and I thought...it was not New Wave. It was really a new concept of cinema.
There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.
I believe the important part of directing really is finding the right people for the right roles. Sometimes you go for what's expected, and sometimes you go against type because you think that'll really bring something different to the movie.
We have a documentary film festival in Mexico. It's really original. It's called Ambulante, and it's a film festival that travels around several cities in Mexico.
You know, by the time you get to the fourth film in a franchise you're really mining for something different. You're really looking for a way to go about things that the audience hasn't already seen.
Theater is such a different ballgame than film. And that's really why I stayed in film, because I really love the reality of connecting with your own feelings, and really putting that across in a realistic way. In film, the smallest muscular movements in your face, that are produced just by sheer feelings, you're not controlling them in anyway, can be seen by people in the audience because your face is sometimes, frighteningly, 40 feet wide!
Sadly most films only get exposure if they win an award or were in a festival, which is really difficult because those things cost money! Submitting your film to a festival or campaigning for an Oscar or a Golden Globe is very expensive. Most people don't know that, but all those events require a lot of money. If you have a small independent film, it's very hard to get the attention of people in those circles.
When people are confronted with something they've never seen before, they really don't know how to react.
What attracted me to A Perfect Getaway was that I sorta played a girlfriend role for, you know, 85 percent of the film. That was really interesting to me, because I'd never really played a girlfriend before.
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