I have three older brothers, and each one of them has chosen one of my parents education. Two of them are actors, and the third is a doctor as my mother is. I wasn’t sure of what i wanted to do, until Arn.
[on succeeding Tim Curry as Pennywise] Tim Curry’s performance was truly great, but it’s important for me to do something different because of that. I’ll never be able to make a Tim Curry performance as good as Tim Curry.
A lot of people ask how actors learn their lines. It’s a very mechanical thing that anyone can do really. It’s all about repetition. The job as an actor is about blowing life into the text and finding pauses. That’s the exciting part, how to act and approach different parts.
Part of being an actor is having the face for the role, right? There’s always some extent of luck going into getting a job. I try not to think too much about my own looks or how I work. There’s a danger in becoming too self-aware.
People like to make fun of the fans who camp out but people have renaissance fairs; people do Civil War re-enactments; people do what they like. I’m tired of hearing people rage on the fans. If you don’t like Twilight, don’t buy a ticket.
I guess I’m drawn to… I think, even when I read serious scripts, the moments that I connect to are the little glimpses of humor, because, you know, I think every script, no matter how serious it is, has bits of humor in it. Even End of Watch is really funny. So those are the moments where I can kind of see what I can do with it that’s different, and I feel like that’s the easiest way for me to get inside a character’s head, is through the humor, like what sense of humor they have.
I sort of marvel at myself. Maybe at a certain point everybody feels like the person they were when they were younger is a stranger. Because I seemed to be much more driven and focused at that age. I had the intention of being on Broadway. I am just very grateful that my parents treated me with respect… and really, really supported me.
[in the December 1976 issue of “Playgirl”] I don’t want to be known as a sex symbol. There’s a great stigma that goes with that tag. I want to be a Sam Elliott.
I’ve spent my entire career on horseback or on a motorcycle. It boxes you in, the way people perceive you. I read a lot of scripts. Most of ’em go to other actors.
I was really happy that Ang Lee won the Best Director award, I got to know him very well on Hulk (2003). But I’m not the Brokeback Mountain (2005) crowd, what can I tell ya. I’m more of a purist. But at the same time, it’s a new day.
I’m picky, very picky. I wanted to be an actor since I was nine years old and I figured that was only one way to ever have any longevity and that’s to be careful about what kind of work you do. You can work for money, do a lot of whatever comes your way and not have any kind of a yardstick to measure quality by, and people, you know you’ll make a lot of money if you’re lucky, and people will get fed up and sick of seeing you and that’s it onto the next one. – On his career choices.
[on her role as Special Agent Dana Scully on The X-Files (1993)] I am more spontaneous than my character . . .
When I think of normal, I think of mediocrity . . . and mediocrity scares the fuck out of me!
I know people who are embarrassed to be American. They don’t like showing their passports. It’s becoming a scary place. It takes someone very brave not to be quiet, someone who doesn’t mind death threats, their life being turned upside down, news cameras outside their door. There is no freedom of speech in America anymore. They are not living up to the constitution. There’s so much fear in America and control.
Dan came out to his mother at age 18. Dan’s dad was waiting for him to come out, but his mom couldn’t wait and asked her son if he was gay. Dan said “Yes!”.
He was in on a joke when he was hosting Saturday Night Live. He was showing the audience the backstage area when he comes across his dad Eugene Levy in a Plexiglas isolation box. Eugene wasn’t aware of the isolation box until he came in from Los Angeles.
[about her work with James Woods] It’s kind of like being pregnant. You know, you go through the initial joy of it. Then you go through wanting it to be over. And then you’re finished with it and you forget how bad it was.
There’s a bit of a stripper in every woman.
I don’t walk around with fear. I walk around with strength. I believe in cause and effect.
I don’t think I’m beautiful. When I look in the mirror, I just see me – and, I’m pretty used to me.
Marc Marashi was born in Paris, France, but grew up in Grand Rapids, MI. He attended film school at Columbia College and has lived in Chicago ever since. After over a decade working alongside the brewing and distilling industries as an equipment provider, he has started making short films again for the first time since college.
THE PRISONER, 1min., India Directed by Allabhya Ghosh Life is confined to a ten-foot-by-ten-foot room. That’s the norm in the suburbs now.
Don’t pretend you didn’t see me, 1min., Argentina Directed by Jimmy Alejandro Castro Zambrano The narration of the experiences of a blind person who moves through the city.
MELODRAMA, 34min., Italy Directed by Giuseppe De Vuono Rebecca Reveal, a promising designer, lives with her husband in an old farmhouse lost in the middle of the countryside. She is a beautiful woman, visionary and devoted to the art world, he a paranoid and egocentric man. They seem the picture of the perfect family, but both are hiding a secret that will push them beyond their limits.
Sizwe, 28min., South Africa Directed by Ayanda Makayi The story of a young, deaf Xhosa girl, overcoming adversity in the height of lockdown to save her gogo (grandmother).
Quantum Causality Conundrum, 2min., USA Directed by Aki Aitos While walking back to a college campus, Emma and Lila delve into the nuances of quantum mechanics and causality, balancing profound curiosity with the practical need to get to class on time.
Yellow Dress, 4min., UK Directed by Raph Isadora Seymour What is she doing? Trying to make a garden? Trying to make something…and who or what is trying to stop her? Crude stop-motion makes startling and poetic images and tells a story of resilience and the desire for happiness for both the hero and the villain of the piece.
Gravity Bound, 3min., USA Directed by Frankie Lasley The Man on the Moon is bound to the moon by his job; controlling the tides on Earth with a magical box of gravity. His quiet days are spent longing after a Shooting Star, who is bound to forever orbit him from a distance.
STIGMA, 30min., Tunisia Directed by Dali Mansour During the Covid-19 lockdown, “Stigma” explores the emotional impact on Bochra, a young woman living alone in France. Through webcam exchanges with her parents in Tunisia, Bochra struggles with painful memories and a dark past. Confronted with solitude in her Parisian apartment, she faces shadows of her past, gradually revealing a deeply buried trauma. The film delves into themes of resilience, the importance of family bonds, and the quest for self in an isolated world, leading to a poignant revelation.
BREAKROOM, 15min., USA Directed by Ian Wang A offbeat genre-bending comedy where mundane office tensions often unravel into something far more unsettling.
BLANCA, 7min., USA Directed by Carlos Grana During a coup in 1948, Peru’s First Lady must drive her maid and wounded chauffeur to the hospital down a treacherous road in the Andes.
Three S3conds, 16min., USA Directed by Diana Shield Arlo, a 17 year old boy struggles to open up and express himself to his counselor. He is haunted by his past actions due to his inability to control his rage and anger issues.
