S Nelson* Quotes

We go for our own reality. I remember some of our guys saying it is way harder to make stylized art directed explosions of jade rather than a regular explosion of shrapnel.

The story in that particular spot was an ancient history story, and we wanted to give it a historical feeling, which was why we used a historical calligraphy scroll come to life.

As I said, i'm very quiet, i don't go around saying "I'm awesome!" but when I brought in my portfolio into DreamWorks and showed them what I could do, my art style is a lot wilder than I am.

I think it's really nice to have an authenticity, it's a huge source for us to be able to lean on people who have that knowledge.

We always try to make the very best movie when we're working on and we can only think one at a time. We want to make this a perfect jewel, and then we'll see what happens after that.

We want to be proud of our work and make sure it's worth the talent of the animators, who spent four years of their love, sweat and tears on it.

When people feel safe, they can come up with ideas. It's important to listen to the actor who is there on the stage and living it.

I can say, Christ has been my only object; thank God, my righteousness too... Hold fast to Christ.

Small is good, but none is better.

You can do crap work in a big movie, and it does good things. You can do great work in a movie no one sees, it does nothing. That's the way it goes.

I got offered to do Ben 10. Sue Blu was the [voice] director of that, and I had worked with her - I think she was on Transformers as well. And she was so great.

You have to be so confident and so gifted to fill five minutes of nothing at the very beginning of a play before even a word is uttered.

I took all the philosophy courses I could.

I went and saw him [ John Hurt ] here in L.A.He did a one-man Beckett show of Krapp's Last Tape. I went back and saw him afterwards, and what an actor he is. He is so gifted.

My closest friend is canine. I have precious few close friends, and most of them are not actors

[John Hurt] just really gifted, and I had a great time working with him and [am] very lucky to have worked with him.

Death is not my best subject.

I like the way the old Toyotas look.

I just couldn't go back to Suddenly Susan after David Strickland's suicide. I didn't see how we could make the show light and funny any more.

John Hurt was incredible to work with.

I have adopted clothes from all the projects I'm in. It's really been a while since I've bought anything myself.

Paul Gleason he was a great guy. I loved working with him.

The first animation thing I did was the first Transformers, the one that was animated many years ago. And I had heard that Orson Welles was doing a voice on it.

It's a profession where merit is not necessarily rewarded.

Santa Jr. I was a cop. Yes, I was officially Santa. But a younger Santa. He goes young, clean-shaven, to how we imagine Santa with all the white hair and beard and "Ho ho ho." Kind of funny.

I wasn't Santa in Santa Jr., but I was Santa in Cancel Christmas.

I got to play Santa, too. It's really important to play Santa, you know.

[In The Dark Backward ] someone who has writer's block and kills people in A Cabin By The Lake. I guess he's a type of serial killer, but I don't know.

I play a garbage man who moonlights as a stand-up comedian. Terrible.

Stagecoach is really my first Western, actually.

I like Chicago. It's a great city. It's always fun to revisit it.

Paul Gleason played the teacher. I just tortured him as best I could. 'Cause he wasn't one of the kids, you know, so it was okay. He was great.

You know who was wonderful to work with? Was Paul Gleason, may he rest in peace.

[John] Hughes was open to that [rehearsal]. This can only happen if the director and/or the writer are open to that.

[John] Hughes really wanted it to sound authentic. He was a real collaborator. He encouraged us to bring to the material things we thought were maybe more truthful.

[John] Hughes is a great loss, I think. He was the first filmmaker that could look at someone who was young without seeing them as being less.

Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence.

You just have to learn certain technical things, like where the camera is, not to block people's light in your own, to hit your marks, and that you do it kind of piecemeal.

[Kevin] Costner said, "You don't have to do that... this is a wide shot, so you can calm down."

I was trained by Stella Adler for theater so you kind of give it all on every take.

Phil Hicks was the guy that was in the ROTC, that was going to go into the Vietnam War and thought that was the responsibility of the citizen.

There was no one really like John Bender at my high school.

If you read a script enough, especially a good script - I try to read it 40 to 50 times before you begin so you get a sense of the arc: what happens before, what happens after, what happens during.

In a good script, it's really like a treasure map. You just focus on that, all the answers are pretty much in it.

The Dark Backward. Bill Paxton is in it with me. Wayne Newton. James Caan. Adam Rifkin wrote and directed it. It was made a number of years ago and very odd. Not for the squeamish.

Kim Coates is really funny. He's a blast. If you have to get beaten up and tortured, he's a good guy to get tortured by.

Trace Adkins doesn't talk too much, but when he does he's got great stories. He's lived a great life.

Trace Adkins is such a great guy. Really is. And he's got that incredible voice - low, deep. He throws words around like "my dental coverage."

Adam Sandler is a really funny guy in real life. Separate from all of the movies, that is a funny man.

You have to kind of roll with the punches. That's why I think work begets work to a certain degree. I just try and keep busy.