Alden Ehrenreich Quotes
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I grew up watching a lot of old movies, so getting to ask about making movies in the '70s and people he was friends with, like Orson Welles, Lillian Hellman and Charlie Chaplin, and hearing a first-person account was pretty incredible.
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[The Yellow Birds] is based on a novel written by Kevin Powers, who is an Iraq War vet. I play a soldier who promises my friend's mother I'm going to keep him alive. But when we go overseas to Iraq, he gets killed. It's about what happened to him, my reckoning and dealing with that as I return home from the war.
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[The Coen brothers] hire the same people over and over again, so there's a shorthand between all of the people they're working with.
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Each film and each character is a completely new set of challenges. It doesn't feel like you can rest on something you may have done well in the past.
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Acting-wise, I've had all these experiences. Yet when I look at certain people whose careers I admire, they've gotten to play so many different characters. So it's just that - getting to have more of these singular little adventures where you get to be a part of a completely different world.
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Howard Hughes innovation was in the aviation field. His designs and spirit of experimentation was at the forefront. As far as his work as film producer, he certainly went after a bigger and more ambitious kind of filmmaking, even if he wasn't necessarily a cinema artist.
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I really feel lucky that I still feel excited about the actual work that I get to do. I just happen to love it, and I could easily see, for somebody else, that not being the case.
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Just getting to talk to that person [Woody Allen ] in real life was pretty wild.
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I'd never worked with an actor-director before [Warren Beatty].
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For me, the drive is storytelling. To be a part of an art that tells a story and to be a catalyst, a color in that, is very exciting.
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I did my first film with Francis Ford Copploa which spoiled the hell out of me.
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By anyone's measure, [Warren Beatty] is proven himself. But he still sets out to make something as great as it possibly can be.
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I had an audition process that went on for a long time, and I got to spend a lot of time with the guys who are directing the film. Getting to be around them and being around the world a little bit has been the main experience so far. I did my audition on the Millennium Falcon for one of my screen tests, which was pretty cool.
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I've had that experience many, many, times - when you don't get roles. I'd developed a good muscle for shaking it off.
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I think that having had [Steven Spielberg's] confidence in me probably made me a little more immune to feeling as bad about myself in the face of rejection. I also was just so young - I was unaware enough to not take it too seriously.
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I've had a couple opportunities where I've been on the other side of the audition process as a director.
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I had the opportunity to learn more about what life is like for a soldier [in The Yellow Birds].
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An era that I specifically like is sort of late 50's, early 60's. I guess mid 50's too. I like these types of films that deal with post WWII America and this more complex leading man that kind of emerges from that.
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I'm trying to make myself sound better.
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My parents weren't involved in show business but my parents would show me. We'd watch old films in the house.
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I'm just excited to be a part of the movie [Star Wars]. It's always the particulars that are the most exciting.
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Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
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I had four years of auditions, and nothing happened, until Francis Ford Coppola took a shot on me ['Tetro' in 2009]. I hadn't done a film, and suddenly I was the lead.
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[Warren Beatty] definitely sees 'Rules' as a comedic consequence to the American sexual puritanism that is dramatically presented in 'Splendor.'
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For me, it was watching 'Reds' and 'Splendor in the Grass.' To me, 'Splendor' is like the companion piece to 'Rules Don't Apply.' It's set in the time when Warren [Beatty] came to Hollywood, and when he did that first film.
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I remember pretending to be the characters in the movies when I was a little kid.
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Even when Warren [Beatty] cast me, it had been two years between films at that point.
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That's something that Francis [Ford Coppola] would always say. I remember when I was doing Tetro, he said, "Stay innocent. I'm 69 years old, and I'm still innocent."
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[ Being director] is really reassuring to me that it's just about who is right for that role and less about if you ace the audition. It's just about getting to know people, not about who's a better actor a lot of the time. It's about who fits that particular suit, you know?
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Their way of working [the Coen brothers] is always kept pretty mysterious. I was so curious to see how they make these movies. It was just such a joy - they seem to have so much fun making their movies.
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