A Quote by Wes Anderson
Every time you do a take on a movie, you're not sure if it's going to succeed. Even if you have a great cast, like we had, every scene you're kind of waiting for the release. 'Oh, yes; it happened. We got it!' There's always the possibility that it's just not going to work.
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If the film isn't suspenseful, i.e. the pressure cooker situation of what's going on in the movie, if that's not part of it, if the threat of violence and the temperature isn't always going up a notch every scene or so, then the movie is going to be boring. It's not going to work.
Just keep acting is my plan, I just want to keep going for as long as I can. I've had a fantastic time on Potter, I will be very sad to leave it because every time I look back on one of these films, every scene I watch will be forever linked to a memory of what happened that day or something that was happening around that time in my life.
All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.
John Huston was the kind of director that totally left you alone. Not every actor always does it right, every time, but most of the time he was re-directing someone. He was making tight adjustments, and not even in terms of interpretation because he knew that by the time that the character had been filmed... well, he got it right when he cast you.
I had no inkling I was going to run into this kind of luck I experienced. It's all happened and it's all turned my life around overnight; opportunities have knocked on my door and I'm just making use of them. I don't want to do anything and everything. I want to be a brand that every time I leverage my name I want people to feel sure that it's going to be something good - so whether it be my movies, my perfume, my restaurant, my musical, it'll be good work, good food and good everything.
I grew up - my dad, every time I was with my dad, he was always - not always, but he wrote. He's a writer. So he was always in his office writing. He made a plan and, like, a point of, 'This is my work. I'm going to do this every day for these amount of hours.' So I think that's where I got, like, a work sort of ethic.
I'm not going to make my bed perfectly every time. As much as my mom would want me to make it perfectly every time, if I got to get somewhere, I'm not going to make sure that pillow is just right. My toothbrush doesn't have to be in the same place every time. I'm not OCD about that stuff. When it comes to football, I want to be right on everything.
I like movies that work on two levels - like The Simpsons, kids can watch it and adults can watch it. Teenagers can watch Hostel and if they want to see a blood and guts violent movie they're going to have a great time. They're going to scream and yell, it's a great date movie because they're going to squeeze their date and their date is probably going to be too scared to go home... so you take them home and put on Dirty Dancing and everybody wins.
When you cast somebody you cast them not only for... I look for an inherent kind of quality. You are going to be shooting 14 hour days and you are going to be tired. You are going to not necessarily be able to conjure armor or a façade every single moment.
Almost every time I go to the ocean, I think about throwing my phone right into it. Sometimes, you pull that thing out of your pocket, you look at it, and you're like, 'What was I just going to do with this? Was I going to take a note? Was I going to check my email? Was I going to take a picture?'
When you break new grounds and try to do something different, it's always a high. I remember the first time we did a whole song in slow motion with lipsync for 'Geetanjali.' It was not prevalent at that time. We just had a method and we tried to do that. We weren't sure whether it was going to work, but that is the kind of risk you take.
When you're young, you don't really think about what's going on. At least, in my case, I was always so hooked on being so innovative and didn't worry about what happened yesterday. I just wanted to focus on today and make it better. I was like that every day. I just made sure that every night I was at my best, at the best level I could be.
I want every movie to have a big audience. I'm always hopeful that it's going to be discovered, and audiences are fantastic that way because every once in a while they surprise you. I didn't think 'Beautiful Mind' was going to be that kind of global success.
I can't just go to McDonald's after I'm done working out. I'm going to treat my body like it's the only body I'm ever going to have. I'm going to make sure it's strong and it's good. I'm really going to work hard every single day.
I remember [Joe] Lovano came around to me at that time [of Monk competition]. And I had taken some lessons with Joe and I had seen Joe on the scene. He had always been so great to me, such and inspiration and so kind. One lesson that I had with Joe was just amazing. I'm just such a fan and an admirer of his on every level. He was like, "Don't worry... you're just out here. You just do what you're doing. Don't worry if it doesn't make you a household name or anything."
When I'm going to work, I often stop and wonder how I've got here. I don't mean literally, but just thinking back to when I first had the idea of being an actress, it seemed so unreal, so unlikely. People like me just didn't become actresses. Every new job I get comes as shock. It's almost as if I'm waiting to be found out.
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