A Quote by Jason Biggs
We all had our reservations about possibly overdoing it but, you know, the script was great. Basically it stuck to the formula that worked for the first two movies, and for that reason I think this works as well.
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When you finish reading a script and think it is good but have reservations about a kissing scene, it means that you haven't understood the script completely.
We love Formula One and think Formula One's great. But we think Formula E is different. We would be making a big mistake if we tried to compete with Formula One and be similar to Formula One, we have to be radically different to Formula One to have a chance of survival. I don't mean survival by beating Formula One but co-existing complimentary to Formula One.
I went to visit a friend of mine, a writer name Troy Seal, a songwriting fool. He's had a ton of hits. He said, "I've got a thing I'm stuck on." ?I can hear the wind a blowin' - he already had that. You and me lord, we had it all. ?He only had that first verse. For some reason he was stuck. But that's how that came about.
I love working with people I've worked with before and that can be true of when people have worked together. But if two people have a natural chemistry and it just works, to be there for the first time, particularly on a story where it's about these two people meeting for the first time, that goes a long way.
I don't know what to expect out of my films. My first two films were with extremely talented directors, and they didn't work. And my next two films were with newcomers, and they worked well. So I've stopped expecting anything from my movies.
I think everyone agrees First Contact was our best film, and even at that, they're kind of... I don't know, they're sort of movies. But they're kind of really Star Trek movies, if you take my meaning. It's hard for me to say. I was glad to be doing them. Whether they were good isn't really up to me to determine, and it doesn't matter what I think. I thought we had a really nice script on Nemesis, and the audience didn't seem to care for it, so what can you do?
From a prestige standpoint, the U.S. needs to host Formula 1. And I think Formula 1, they know they need the U.S. as well. So many companies that are global are based in the United States support Formula 1.
Culturally, I think we have operated as if we had the formula figured out, and it was all about optimizing, in its various constituent parts, the formula. Now it is about discovering the new formula.
I worked with women who were nurses and workers, women who worked in hotels, janitors who basically cleaned buildings, worked two jobs just to support their family. And, it really taught me a lot about how much opportunity I had to do anything I wanted to with my life.
The class warfare was in the script as well. It establishes what the world is like and what would happen if we really had two zones that were left and everybody had to survive using these two areas. What would our society to do with that set up? I wanted the state of world, in my mind, how it would actually realistically unfold. I drew that from what was in the script.
I was well aware of that when I heard they were remaking 'Total Recall.' My first reaction was: 'Ewww, really okay?' And the director said you should really look at it, the script is good. I had already done a remake. I had just finished 'Fright Night.' When I heard about that being remade, I had a whole ego thing... remake?. 'That is so uncool! I loved the original, I can't possibly do that.
I'm a massive Steven Seagal fan. I know his movies are horrible, but I've watched all of them over and over again. I'd want to do a movie with him and Van Damme. I think they are afraid of me - that's why I haven't worked with them yet. Well, I know that's the reason.
Well if I had my choice I would not - I wouldn't mind working with Alec Baldwin, but the mother role - I'm kidding. It's terrific. I'll tell you what happened with Alec Baldwin and myself. This is a couple acting together just this side of heaven. He's one of the best actors I've ever worked with in whole life. And I - I'm not overdoing it. I just think he's about the best around today. So I got lucky.
I had a lot of great bosses - I worked for Gina Prince-Bythewood for two years, I worked for Ava Duvernay as a PA on her first narrative film, and I worked with Mara Brock Akil, so a lot of wonderful role models.
Following my muse has worked out pretty well so far. I can't see any reason to change the formula now.
Well, you know the old line - to be nominated is what it's all about. I think that I've done pretty well - I've had about 46, or 47 nominations from my movies, and my films have won about 12 awards in total, so I don't really have any complaints.
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