Stanley Tucci Quotes
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The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.
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Every role is approached in exactly the same way, you have to make it believable and that's all. Acting is really serious, like, pretending really hard.
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I think everybody has a little bit of an asshole inside of them.
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I mean, Scorsese's a genius, and that's one way of shooting.
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And I love doing my own projects; that's what I've always wanted to do.
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As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.
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Like Joseph Mitchell, I would scour the streets of New York and find little pieces of what other people think of as junk - and collect it.
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I was always attracted to the past as a kid.
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If you feel safe then you can go wherever you want to go as an actor.
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The smaller films just take a longer period of time to build their fan base because people don't see them as soon as they come out in the theater. They see them, after a period of years.
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I don't like things about serial killers. There's so much serial killer information out there in documentaries constantly. A lot of it's just sort of gratuitous or it's almost like pornographic, really. There's no reason for it being shown.
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As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.
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I like to use all of myself, and acting wasn't doing that.
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As a director you have to be careful you don't over-design the film. You have to be careful that the period aspect does not take over.
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Big Night and The Impostors are both things that I wrote.
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I'm actually one who will encourage directors to cut my lines.
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I'm pretty much a character-driven film director and my movies are smaller. I don't do a lot of coverage. I use lots of master shots.
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I think it's important to have a good sense of humor and joke around with your kids. That's what I do a lot.
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I wanted to be an actor when I was a kid.
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I'm not saying they won't be bigger projects someday.
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I hate movies that take a long time to shoot or directors that labor over every shot or do excessive amounts of coverage and excessive takes and don't keep things moving or constantly cutting.
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As a film director I like to have the actors create their own close-ups. It's an older style of filmmaking.
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Every character, no matter who you play, at times is pretending to be somebody else. People have a public face and a private face.
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I didn't know you had to change diapers so often. I couldn't believe it - we must change them 10 times a day - each. So that's 20 diapers a piece a day.
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Those moments in between the moments, those are the most interesting. What's unspoken, the way we talk around things, the way our actions are inconsistent with what we're feeling, how anger and affection manifest themselves in strange ways at inappropriate times.
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The action stuff takes a long time but when you're there and you're doing it and you go into that take and you run and everything is blowing up around you and you're diving onto something it's actually incredibly thrilling and you feel like a kid again. Like a kid, who used to play and pretend all those things would happen and now they're actually happening.
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I'm a control freak. Totally.
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What's great is when you're working with somebody with whom you have a connection, it's exciting because there's a shorthand and you trust each other and you have a good time together on the set and so you can go a little farther than you might normally because you're with somebody that you trust.
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People wear shorts to the Broadway theater. There should be a law against that.
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My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.
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