War is chaotic and when you start having a larger scale film and you have a lot of safety protocols and choreography, I would imagine it becomes more difficult.
I don't think 'This Means War' is an appropriate picture to do in 3-D.
I shot film with the Coen brothers on 'Hail, Caesar!' That's fine. I'm sentimental about film; I've shot film for forty years or something.
That is one reason so many of the Japanese pictures are not good, they cannot spare all the footage necessary for that bow, which is repeated over and over again.
USC has really developed my love for the cinema.
For behaviorist films, that's been much more useful - the change of technology - but for my kind of films, doing them on film is much better, because it's more beautiful.
I made my last motion picture in March 1965 for Magna Pictures. 'Harlow,' based on the life of actress Jean Harlow... I didn't know at the time that 'Harlow' would be my last motion picture.
It was close to like a 67- or 70-day shoot for 'Tron' on stage, in the suit. You can't even sit down during the day because of all the cables that divide the foam rubber and all the electrical circuits. We had these stools that were tall with a bicycle seat on them and you're just looking at a blue screen all day.
It might sound odd, but I want to thank Michael Bay because he's been saying how important it is to show 3D with the right luminescence. And that's very important for this film, a lot of which was shot at night or with very low illumination.
Honestly, if I could shoot everything in 1:33, I would.
The Sennett system of making pictures was actually fun. You never knew what the person next to you was going to do.
I had an almost fetishistic attraction to film technology.
Well, the Empire State was about 40' high in the studio. King Kong was a little model about 2' high, and the scenery that he worked in was in proportion to his size.
I've grown up watching cinema from around the world, and there are films that have scenes that are far steamier than what we are required to do on screen.
I'm happy to have a physical part in 'High Tension,' in 'Hereafter,' and in a lot of French movies and Belgian movies. But its not by chance directors choose me for physical parts. I like to do that. I like to tell a story also with the body. It's important, because you can tell a lot of things.
Cedric Gibbons was the grand cardinal of the art department.
I'm vomiting days before I start shooting a new movie.
I feel like movies, if there's any kind of budget whatsoever, there's so much sitting, and I really like to work. Otherwise my blood sugar just drops, you know, six hours sitting in a camper.
I worked with Cecil B DeMille quite a few times.
It is extremely difficult to get movies that cost more than $40 million to be made these days.
I worked with a man named Patty Crane who was Errol Flynn's stand-in back in the '30s in Hollywood.
