A Quote by Steve Buscemi
What was frustrating about Armageddon was the time I spent not doing anything. It was a big special effects film, and I wasn't crazy about pretending I was in outer space. It feels ridiculous.
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I spent 10 or 15 years doing visual effects and, if I learned anything from that time, it's that you do the best work when you let things go wrong and embrace the happy accidents. Then suddenly it feels fresh and you're somewhere new.
I'm so pleased that I'm coming back to Armageddon, just to meet everyone. I'm very excited about doing it, I've heard great things about Armageddon and I'm just really excited to get there.
What's lovely about 'Eureka' is that it's a sci-fi show, but it's not monsters from outer space; it's not craziness from outer space. It's just about this community of people and what they do. These geniuses have sometimes done wonderful things and sometimes created global warming. It has this wonderful left-of-center sense of humor.
The real trick to these movies and making the big action sequences work - and I've forgotten this sometimes and screwed it up - the characters really have to be humanized. Because you can have the greatest special effects in the world, but if you don't care about the people in those effects, there's no impact.
'The Stepfather' was the first time I sort of carried a film, or led in a film, and doing it was fun, and I felt very special. Afterwards, though, I was terrified. I just thought, 'Wow, this is basically going to be about me. If this film is a success or a failure, a lot of it's on me!'
I don't normally do big movies. I'm new to this world. And I've always been afraid that jumping onto a big budget film, you would lose the relationships in favour of special effects.
When you ask people about what they enjoy doing, time spent with the boss is even worse than time spent cleaning the house. So this suggests that there are a lot of leaders out there who are not doing an adequate job.
Growing up, my sisters and I would always talk stories. One of my frustrations was I didn't know anything about cameras. I didn't know how to make a film and I obviously didn't have a special effects budget. I was a kid. So I was learning to draw to get down the stuff that was in my head, that I couldn't afford to actually do.
I think a lot of the time these days people are so concerned about having the right camera and the right film and the right lenses and all the special effects that go along with it, even the computer, that they're missing the key element.
If actors are making a little film with me at 2am in Nashville, they're not doing it to get paid. They're doing it because there's something special about the characters, which helps the film become more interesting.
We have to have films about action and violence and special effects. That's the sad part, but you know what? It's not me doing it.
I try to express in my films things that no other art can approach. In my monster films for example, I use special effects in the same way one would use a special film stock, a special camera, and so on. Monster films permit me to use all of these elements at the same time. They are the most visual kind of film.
If your ego starts out, 'I am important, I am big, I am special,' you're in for some disappointments when you look around at what we've discovered about the universe. No, you're not big. No, you're not. You're small in time and in space. And you have this frail vessel called the human body that's limited on Earth.
If your ego starts out, "I am important, I am big, I am special," you're in for some disappointments when you look around at what we've discovered about the universe. No, you're not big. No, you're not. You're small in time and in space. And you have this frail vessel called the human body that's limited on Earth.
When you have a lot of time, when you're not working a full-time job, you have a lot of time to question things and think about things. Some of it's about romantic relationships, some of it's about drugs, about religion, about this mass of humanity traveling through life doing all this crazy stuff, not really knowing why or for what.
Science fiction was rocket-mad for about 40 years until aerospace hit a brick wall about 1970. I would not write off space colonisation or exploration completely, but we are profoundly ill adapted for going boldly into outer space.
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