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I had no way to have a sense of humor about The Exorcist. I didn't know how. And this enabled me.
I work more than people realize. It doesn't mean you always see the project. Look at how many stations we have. I did a couple films in Australia. I like the movies.
I think that whether you're on the right or on the left as an economist or as a policy maker, every serious analyst I know agrees that at some point you have to deal with entitlements.
Our time is fixed, and all our days are number'd; How long, how short, we know not:—this we know, Duty requires we calmly wait the summons, Nor dare to stir till Heaven shall give permission.
How shocking must thy summons be, O death, to him that is at ease in his possessions! who, counting on long years of pleasure here, is quite unfurnished for the world to come.
Throughout the whole vegetable, sensible, and rational world, whatever makes progress towards maturity, as soon as it has passed that point, begins to verge towards decay.
But if there be an hereafter,And that there is, conscience, uninfluenc'dAnd suffer'd to speak out, tells every man,Then must it be an awful thing to die;More horrid yet to die by one's own hand.
I do turn down things that I feel aren't right for me, like when it's some kind of adolescent thing that might typecast me, but I'm not worried about it.
A Dirty Shame was a crazy movie. I don't understand that movie at all. I don't get it, but I'd work with John Waters again in a heartbeat. He's just a delight.
I'm a terrible dancer. Terrible. Just the pits. And I had to do these cheerleading things and it was just cringe-worthy. I mean, I'm so bad, so that was painful.
It's a sleepy, wonderful, idyllic town but there's a curse on it from 100 years ago, ... The people who died in this kind of boating accident have come back to take their revenge.
Dark Horse was my second time working with Todd Solondz. I love him truly, very much. And I don't think he'd ever worked with an actor a second time. It was groundbreaking.