Jodie Foster Quotes
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Every movie changes you. The process of making a film changes you. You have to be obsessed, you have to get up at 3 in the morning and go "Wait, I have an idea!" You have to continually be drawn over and over again to deepening inside that story, and ruminating over questions: "Why would he say this to her? Why if he was standing there, would she go?" Every one of those answers has to come from some personal place, and in order to do that, you can't sit on the surface. It's such a big change that you can't really explain it to anyone else.
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I love the way L A. leaves you alone. I can go home, read all day, and nobody bugs me.
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I don't need to be Tom Cruise. I just need to work forever.
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It was a weird moment in my life and a weird experience [doing a theater]. It made me think, "Gee, I don't know if I ever want to do this again." And I love theater. I love going. I love the experience of theater. But I am not sure it's for me.
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I feel at various times in my life that I've been at a point where I had to choose between a death sentence and a life sentence. And I want to live. What do I do to live? What do I do to be vital? And the answer is always creativity.
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I can't imagine ever not doing [acting]. I would feel like I would have lost a limb. But I am older now, and sometimes I wonder who I would have been and what about me would have changed had I not had these experiences as a young person
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In a weird way, that's the beauty of being an actor. You get to live out things that you're afraid of, and you get to say, 'Well, maybe I can get to the end of it and survive it intact and I can be the hero of my own story.' It's kind of a way of exorcising fear.
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Acting, for me, is exhausting. I'm always more energized by directing. It's more intense to direct. I can pop in and express myself, then pop out again. It's a huge passion for me.
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I don't know if you've ever seen some of the Sidney Lumet movies, like Dog Day Afternoon [1975] or Network [1976]. They're real events that happen in real time, and there are all of these different characters experiencing the same thing in different parts of the movie ... I am so bad at explaining my films. But it's in the world of finance and the world of media, and how they connect. It was a big undertaking. A big, mainstream movie, which stars Julia Roberts and George Clooney. But for me, it's really just a small story about character and people.
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I made, like, five movies while I was in college. I think they just weren't memorable movies. I've taken breaks as the years have gone on - I burn out every once in a while.
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I don't find acting and directing schizophrenic, in any way. I find it completely easy to move between the two.
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I guess I've played a lot of victims, but that's what a lot of the history of women is about.
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Ninety-five percent of women's experiences are about being a victim. Or about being an underdog, or having to survive... women didn't go to Vietnam and blow things up. They are not Rambo.
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I like to be in a different place when I make a movie so that I can't really focus on anything else, and that is your world.
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I think an artist's responsibility is more complex than people realize.
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I've worked with Neil Jordan, who I really adore. We did The Brave One [2007] together.
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Boys are easy. I mean, there are just a lot of bruises when they're young. With boys, you get a lot of accidental jabs in the eye and stepping on your feet, and those tantrums they cause when they don't want to leave the toy store.
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Love and respect are the most important aspects of parenting, and of all relationships.
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I didn't have any ambition to produce big mainstream popcorn movies.
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But the reason I became, why I wanted to be in the business was because there was Midnight Cowboy.
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I make dark dramas, movies about people living in desperate fear who then overcome that fear and find a heroic side to themselves.
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When I was growing up, books took me away from my life to a solitary place that didn't feel lonely. They celebrated the outcasts, people who sat on the margins of society contemplating their interiors. . . Books were my cure for a romanticized unhappiness, for the anxiety of impending adulthood. They were all mine, private islands with secret passwords only the worthy could utter.
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I really did feel like I was surrounded by family members. I didn't have a dad, and I remember there were all these guys - in the old days, there were no women, except a makeup artist or, occasionally, a script supervisor. So there were just guys who taught me how to, you know, whittle wood, or how to pull focus, and what the camera was doing. And if I was being bratty, they'd sit me down and tell me. There were lots of rules about not being late and making sure that you didn't spill anything. So it felt a little bit like I was in a family.
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Julia Roberts and Sandra Bullock do romantic comedies. I do dark dramas. I do these movies well.
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Normal is not something to aspire to, it's something to get away from.
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Interestingly, when you do films, sometimes you have conscious reasons, things that you were looking for, or stuff that you were trying to do. And then, you see the film and you think, "Wow, it ended up being something totally different!"
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I don't think there is anything good about fame. 'Tables in restaurants.' People say that but, then again, why don't you just call the day before? Or go eat somewhere else?
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There's absolutely no sort of acknowledgment or reward for this - except for the intangible of my kids growing up to be wonderful people.
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I'd like to work more as a director. It's distracting being an actor, because - there's a lot of reasons. You find out you're going to work about six months before you start shooting, and then there's prep and there's post afterward, and there's stuff to do, and then suddenly you've gone a year without directing. There's a part of me that has to not be tempted by that in order to commit more to the directing. Honestly, the big reason for me to act is to observe other directors and learn from them. That seems to be the biggest draw.
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Part of me longs to do a job where there's not a gray area.
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