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What's "God"? Well, you know, when you want something really bad and you close your eyes and you wish for it? God's the guy that ignores you.
Communication is the key, and it's one thing I had to learn-to talk to the actors. I was so involved with the visual and technical aspects that I would forget about the actors.
I talked with Quentin about where the character came from, and he told me Kansas City. I don't know how somebody talks from Kansas City, so I made him from New York.
I don't tend to think of the characters i play as losers. I like the struggles that people have, people who are feeling like they don't fit into society, because I still sort of feel that way.
I never want to feel like the way that I see it isthe only way. Sometimes mistakes happen and that's better than whatyou thought the scene could be. You allow room for the possibilities.
There's a certain type of character that you can't help but come in contact with growing up and living in Brooklyn and Long Island. A certain mixture of moxie, heart, and a wise guy sense of humor.
I've never had a grand plan. I've only just tried to keep open to many different possibilities, have fun and work with people who are passionate about what they do.
What was frustrating about Armageddon was the time I spent not doing anything. It was a big special effects film, and I wasn't crazy about pretending I was in outer space. It feels ridiculous.
In the beginning, it wasn't even a question of deciding I'm going to do independent film and not commercial films - I wasn't being offered any commercial films, and there wasn't an independent scene.
When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that and feeling like I was losing control.
I have a dresser, who literally is a guy who makes sure the tie is right. It's a little bit of a process. I could probably do it by myself, but it would take me three times as long.