A Quote by Scott Foley
I have a couple ideas that I'm banging on for a film. It's strange, you make a movie and, all of a sudden, your agents are calling you and saying, "Hey, I know these guys with some money who are looking to finance something." You're like, "Oh, god, now I've gotta come up with something really amazing."
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They gave high fives to all the players who say like the most obvious textbook answers in the world. It's like after each game, you already know what they're going to say. If they lost: "Ahh ... Tough loss." It's like, come on, how do you guys fall for that? And if they something that they really feel, everyone goes crazy. Like "Oohh! He's spazzing out!" Now he gotta say sorry for saying something he really felt. It's like, Oh lord.
There's a big difference between trolling and just attacking guys to attack guys, to get under people's skin, and to genuinely express how you felt about something. Like if I go to a movie for example, and I watch a movie, and I wasn't a fan of it. I don't mind turning to my family or some buddies I'm with and saying "oh man, I really didn't like that movie." But I've never acted or directed in my life. But I'm able to voice my opinion about whether or not I enjoyed it or not.
My parents thought, 'Oh, my God! What's wrong with him? He's possessed or something.' All of a sudden, I stood up and started saying my lines. From then on, that was it. I knew there was something special about the theater for me, something beyond the regular reality, something that I could get into and transcend and become something other than myself.
Whenever I think I know something is a classic, or an amazing song, I realise it's still so subjective, because you and your friends could be talking about something, say, '(I Can't Get No) Satisfaction' - an amazing classic song - or someone would be like, "'Hey Jude' is an amazing song!", and I'd be like, "I don't really like it."
I really discovered [Dr.Strange] through hearing about this film and first meeting Scott [Derrickson] and getting into it and just opening up and saying, "Okay, this is, like all comics, very much of its era," and my first question was, 'How do you make this film? Why do you make this film now?' and the answers were so enticing that I was like, "I'm in."
There's always something going on on movie sets. Even just from, you know, maybe you come in tired some days and you're not in your best mood. It's different when you're shooting movies because you're on a schedule and you gotta come with your A-game every day.
And I say, 'Hey, Lama, hey, how about a little something, you know, for the effort, you know.' And he says, 'Oh, uh, there won't be any money. But when you die, on your deathbed, you will receive total consciousness.' So I got that goin' for me, which is nice.
We used to say I don't care if I never have any money As long as I have my sweet honey and a shack in the woodland Now we say I don't care if I don't have money, but it's not true We can't live without money, no, because we don't want to We want one of those and two of those, and oh that one looks neat, wrap it up Put it on my MasterCard. Put it on my Visa And I sing it now, hey hey, hey hey, who woulda thunk it Hey hey, hey hey, who woulda thunk it.
I'm keeping in shape, you know, gotta look good for the ladies - and certain guys. Hey, I can't control who's looking. I just gotta bring the heat.
That's what YouTube's become, it's become like a lot of vloggers capitalizing on this sort of like "My fans, I love my fans, hey guys." I've grown up and kind of been disgusted by that. I think it's using people, I think it's like encouraging something that's unhealthy, telling people you love them. "I love you." Oh really, you love your fans? You love the people that give you money and attention? Of course you do, that's not selfless that you love your fans, that's ridiculous.
Sometimes you wake up with mini panic attacks where you feel like 'Oh my God! I don't have a film right now! Should I just do something that comes my way because I don't have another film?' But I feel at the end of the day, your gut takes over.
There's something strange about comedy requests. I guess if you enjoy something, why not hear it again? But there's something weird about it being live, when the person is there, and asking them, "Hey, do this thing like you did it, but make it seem like you're making it up on the spot.".
It used to annoy and frustrate me to have to come in and audition. I would say to my agents, 'Haven't they seen this film and this film and this film? They know what I look like... They must.' Until I directed an episode of 'Roswell.' And all of a sudden, I realized why that was such an important thing.
I came out to Los Angeles for a couple of meetings in the summer of 2005, and I ended up getting a movie called Firehouse Dog for Fox. And I thought, "Oh, man. I'm doing a movie. Maybe I'll work a lot more now. I'm an actor now." Then, for eight, nine months I didn't work after that. After that movie, I began to get some guest star roles, fairly consistently, but because I had been so presumptuous before in thinking that the other jobs would lead to something, I realized: "Just get up. Go to work. Go home. This is your job just like everyone else's job."
No one cares about your ideas. They're not going to come knocking on your door looking for ideas. They're going to want some concrete evidence that you have the potential to serve them or give them value for money. So that's my advice: write your spec scripts, no matter what. They're essential as a calling card, even if they don't get produced.
I think some of the best movie stars in the world are guys who stay in their lane. You can lose an audience if you start saying, "Now I really want to do something that is just for me, but on a massive scale." That's a dangerous mix.
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