I remember reading news stories about Patrick Stewart being unhappy about the apparently asexual Captain role he had been handed on the show and was going to the lengths of suggesting that he would quit if something wasnt done about it. So it comes to two episodes in a row where the Captain has become irresistible to women (well Dr Bev and Vash) and he even starts getting his chest out to prove his virility.
"This script is a nice first pass, Mister Spielberg. But I have some notes."
Listen to (Kevin) Smith talk about Cop Out and Bruce Willis, and you come away with the sense that he doesn't always know how to get the best out of a strong-willed, big-name star; the same is evident here.
Hello John, it's Ron Howard. I'm looking at your contract here, and I know I am 'to honor any and all of Mr. Depp' acting choices even if they are poorly motivated or downright effeminately contrarian,' but can we talk about this? Look, I love Shirley Temple as much as the next guy. And I think I figured out a way you can keep the curly wig, but can we lose the 'good ship lollipop' dress? Please? I'm begging you. I mean, this is The Jonas Salk Story. Also, let me know what you think about those 15 scenes that are all in slow motion with violin music.
At the recent Los Angeles press day, Robert Rodriguez addressed the issue head on by saying that he knew Alba wouldn't go topless, but he wanted the best actress for the part, and that that was more important. Four seats down, Eva Green and Josh Brolin — both of whom bare almost all in this film and others — did an admirable job of not facepalming.
I don't think even Tom Stoppard or Harold Pinter could have written a scene that would have satisfied both Tom and Lalla at that point.
(reading) We know a little place in the American Far West, where Charlie Briggs chops up the finest prairie-fed beef and tastes...' —This is a lot of shit, you know that?!
—Orson Welles, Findus Foods Frozen Peas outtakes
Eddie Mayoff played a Pentagon general whose passion was laundry. He was more nightclub performer than actor but, in his serene pomposity, a delight onstage. He, too, was hard to work with. Small eyes, aglitter with paranoia, set in a great slab-like face. Whenever he wanted a line changed, he would begin a monologue. 'They take out their quarter, see?' He would pantomime a phantom quarter being removed from his pocket. 'They put it in the slot, see? They get on the subway.' He'd sway back and forth, on the train. 'They come downtown. To the Booth Theater. Then they...' He would describe minutely the mind of 'they'—the Mayoff fans—who would be outraged or shortchanged if he were to say 'and' rather than 'but.'
—Gore Vidal (on the making of Visit to a Small Planet), Palimpsest
I struggled with letting in other peoples opinions. I never let directors talk to me, because I was so spoiled. I started off with people like Milo Forman, Sidney Lumet, James Lapine, unbelievably gifted people. So there I was saying, Dont talk to me, I dont want your opinion. I behaved abominably. I dont care if my work was good or if I got an award for it. Im not proud of how I was then, and it pained me.
Theres a part of me thats a Hollywood animal as well. I cant wait to get into the writers room and see how we do this. I feel like Im finally rolling into the next phase of my adulthood.
I wish the next phase of her adulthood was at the bottom of a volcano said the writers who have to deal with her when she comes into the writers room to share her ~ideas~.
I've worked with the greatest directors of all time. Francis Ford Coppola. Monte Hellman. You know why they're great? Because they let me do whatever the fuck I wanted!
I've made over a hundred pictures. How many have you made?
I think Hitch and I could have really hit it off, but the script kept getting in the way.
"Willis called the shots like he did on '(Hudson) Hawk' and like he used to do on 'Moonlighting'. He had scenes rewritten. He did what he wanted to do. We were working with Orson Willis."
—Production Member, Striking Distance