Emile Hirsch Quotes

The challenge of a revival is how to bring something fresh. The reward is the opportunity to add different flourishes. You're dealing with different actors, designers and a different time.

I think Baz Luhrmann's 'Romeo + Juliet' is a work of genius.

I don't like to use the word 'remake', I think reinterpretation is a better word. It's just a matter of respecting the source, and then trying to make your own film, and trying not to be inhibited by being so beholden to every single thing... We respect the source, but we make changes to it.

Even with revivals, I don't really pay attention to previous incarnations. I always just go with the script and with the director and am willing to treat it as brand new.

My favorite-ever version of 'King Lear' is the 1971 film by Peter Brooks. He has this enormous fur thing, and it adds enormous gravitas.

Shakespeare has always been up for grabs, and choreographers have every right to use him any way they choose.

Shakespeare is renewed each time you see it or read it. I've seen 'Midsummer Night's Dream' so many times, and each time it's a little different, or a different line leaps out at me. It's like re-reading a good book over and over, always noticing something you hadn't seen the time before - and that's rare.

I've always liked the idea of taking old dramatic ideas and devices and making them feel relevant or contemporary or whatever.

Any good piece of material like Shakespeare ought to be open to reinterpretation.

No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.

If you're going to reboot something, reboot it in a totally original way that speaks to a new generation.

Any scene in Shakespeare can be vulgarised almost out of recognition with the wish to have a modern concept.

In my mind, I'm no longer daunted by the idea of a remake. In fact, I now look at it as a genre unto itself - so long as you make it your own.

When doing a remake, you're on safer territory. You know you cannot go absolutely wrong. But how right it goes depends on various factors like casting and the way you adapt the film.

The truth is that we're not remaking Sam Peckinpah's 'Straw Dogs,' we're making 'Straw Dogs.' We're taking this story, and we're putting our own spin on it. The mere fact that I have James Marsden in it is an indication that it's a very different film than the one that had Dustin Hoffman in it.

For 'Tevar' we chose Amit Sharma to do the Hindi version of the Telugu hit 'Okkadi' because we wanted to change the flavour and mood of the original.

The one thing that I always try and take with me, if there's, like, a remake, or you're doing something again, is that every generation has a new story to tell.

The wonderful thing about theater is that anything, no matter how tendentious, no matter how stupid it sounds at first glance, can be made to work if it is charged with freshness and originality. You can have an entirely political Shakespeare production and I'll be sitting on the edge of my seat as long as it's surprising, as long as it's not just the standard, "out of the box" pseudo-transgressive production that we just see too much of nowadays.

Hamlet got a gun now.

Shakespeare was the thing that started me off on that train, you know, and every one of his plays. There are so many different characters, and the wonderful thing about being in an all-girls school was I got to play them all, you know. So I got to play Mercutio and Oberon and Malvolio - it was great.

I couldn't imagine 'True Grit' in 3D. I think the idea is sort of absurd.

Some things that work in a comic don't work in a film, and vice versa.

Panned or not, 'Dune' is a real part of science-fiction filmmaking.

'Underworld' was my first filmed book. I think there are about seven of my lines in it.

The great thing about Satan is it's kind of like Hamlet. Everyone puts their own signature on it in a way, whether it's Al Pacino or little old me.