A Quote by Samuel L. Jackson

Any changes that I made to my line, I asked if I could make them, which I do in every movie. So far everybody's been gracious enough to say yes. The only improvising I do is in the movies I do with Chris Guest, which is what we do.
We have home movies of Chris playing the piano with Will on his lap. One of the things that made my life so full was putting Will to bed and hearing Chris downstairs improvising.
I think it's impossible to get any movie made, let alone a character story. Even with big stars, which we had, there were challenges. But we got through it, and we're really happy that we made the movie. It's easier to make giant robot movies, but I'm not in that game.
It really has been a blessing because you can go and look at our other movies we've done in a studio system. We didn't get to make the movie that we wanted to make. We made the movie that someone else wanted us to make. That can be a little disheartening, a lot disheartening. While there have been struggles, it doesn't matter which table you're at because you're going to have obstacles, but I kind of like being able to make the movie that you want to make.
I was obsessed with movies, and it ended up being the tool with which I could make friends. Because I was too painfully shy in other circumstances, I would say, 'Hey, do you want to make a movie?' And that's how I made friends, and it was also my escape.
I think I've been lucky enough not to have to do movie after movie after movie for financial reasons, so I've been able to live life and also make movies. I didn't have to grind them out. I could go long periods where I was living life rather than tripping over cables.
There's not one film that I've ever made that could get made today by a studio, not one - even 'A Few Good Men' because it's an adult courtroom drama, and studios do not make them any more. And so every movie that I make, have made and will make is always going be independently financed.
I made a body of work, which was like trying to make movies on a wall and was made up of all different images and materials. I had the aspiration to make movies because I thought that was the cycle. I had this insane egomaniac idea that I could make movies because I made these gigantic art projects.
I enjoyed all my films equally. I have loved working in all the movies which I signed. Whenever I used to like the script and the director only then I would say yes for the movie otherwise it was a complete no.
Movies are becoming more global, which is making them less intimate. If you make a movie for the world, you don't make it for any country.
With a lot of the movies that I've done, they've been both dramas and comedies from Shanghai Noon to Billy Bob Thornton's second movie, Daddy and Them, to just a bunch of movies that I have done have been comic, and they're usually from a cynical kind of pessimistic point of view which is probably my sense of humor, and this is a part of myself in everybody that I play.
Nobody wants to sit where I'm sitting and say, 'Hey, this is the reality. I did two movies, six guest-star spots and I starred in a one-woman show, and I'm not making any money. I'm on TV every day in every country in the world, and I don't make any money.'
From '86 until the summer of last year, wherever I went, people would say, You would have made a great James Bond! Weren't you going to be James Bond? You should have been, you could have been, you may have been. Yes, yes, yes, yes, yes. It was like unfinished business in my life. I couldn't say no to it this time around.
I think the other thing that's important is getting to a place, which very, very rarely happens with improvising groups, where somebody can decide not to play for a while. You watch any group of musicians improvising together and they nearly all play nearly all the time. In fact I often say that the biggest difference between classical music and everything else is that classical musicians sometimes shut up because they're told to, because the score tells them to. Whereas any music that's sort of based on folk or jazz, everybody plays all the time.
Changes are not unusual - I mean, most movies, when they release them, they make changes. But somehow, when I make the slightest change, everybody thinks it's the end of the world.
The harder the circumstances under which you're making a movie, generally the better the friends you make. You're far away from home and so you're kind of lonely, and you end up all gravitating towards each other and the bar every night. It tends to be inversely proportionate to the comfort level on the movie, how close you become to everybody.
What you really need to build a character is exactly what you don't have in the movies - time. You know, movies are like a line drawing. You have to make very quick decisions, which are, in the end instinctive. Or you make a decision to say "Well, maybe I can do that, because... Oh, that could be irritating after a while, or distracting, etc. etc." Some of it is a matter of time, always.
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