In Falling Skies (2011) I was playing a soldier and a fighter, and then, when I was taken captive, you’re still in this post-apocalyptic world.
“Terrible” is not a word I would use in shooting romantic scenes with Scott Speedman.
For the spouse of someone in the service, you are your own provider, your own lover, your own best friend while that person’s gone–the mother and father if you have kids.
At different times in your life, your body needs different things.
I loved The Chicago Code (2011); I watched that a lot. It was great because it really captured the city–I’m from Chicago, too.
I’ve been offered a couple of leads in some movies that really suck. I mean, you know, if they’re offering me the lead, the script ain’t that great. The stuff that’s good, I’m a little further down the cast list.
This is a tough town to live in if you’re not relevant. I’m not making my decisions based on the fear of that. But there’s a reason people have a long career. And it’s because they’re doing respectful work. I really want to be in that group.
I would rather do three or four small parts every year as opposed to some of the lower-hanging fruit that might get my name above the title. If you take that big paycheck for that, it’s going to be real high-profile, you’re going to be famous for a couple of weeks, and then your career is over and you’ve got to make sure you don’t spend all your money before you die.
LOS ANGELES, CA – SEPTEMBER 22: Director Steven Soderbergh (L) and Jules Asner attend HBO’s Annual Primetime Emmy Awards Post Award Reception at The Plaza at the Pacific Design Center on September 22, 2013 in Los Angeles, California. (Photo by Michael Buckner/Getty Images)
There are certain directors – Spielberg, David Fincher, John McTiernan – who sort of see things in three dimensions, and I was watching their films and sort of breaking them down to see how they laid sequences out, and how they paid attention to things like lens length, where the eyelines were, when the camera moved, how they cut, how they led your eye from one part of the frame to another.
…there’ve been a lot of questions about commercial films and non-commercial films, and I’ve never really made that separation in my mind. There’s no question that when you read a piece of material, you have ideas about how it should be realised … certainly when I read the script for Ocean’s Eleven, I thought if this was realised the way it should, then it would appeal to a lot of people. Then you get involved in a film like Solaris and if you realise it the way it should be realised, then it won’t appeal to a lot of people. But what are you going to do? You have to go at it…
I learned from Richard Lester that as your career goes on, you learn more about how things can go wrong, but you never learn how things can go right. And it’s really disorienting.
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Born January 14, 1974 · Thunder Bay, Ontario, Canada
Birth name Kevin Serge Durand
Spouse Sandra Cho (October 1, 2010 – present)
[on filming Robin Hood] I think the most memorable moment for me was: Russell and I galloped up to the base of this castle that they built and he said, ‘Take a good look at that castle and remember it, because they may not make movies like this anymore.’
Born January 14, 1967 · Islington, London, England, UK
Birth name Emily Margaret Watson
Spouse Jack Waters(1995 – present) (2 children)
QUOTES:
“I wasn’t prepared for the way people responded to ‘Breaking the Waves.’ Suddenly, I was being interviewed and being asked all sorts of questions. All my life, I’ve loved movies, but I didn’t foresee the glamour of the Academy Awards. In England, the awards are reported as straight news. In America, they’re considered the height of glamour.” – On her two 1999 roles, “Angela’s Ashes” and “Cradle Will Rock”, which had Oscar-potential.
I was a normal, rather dutiful child. I didn’t even rebel as a teenager.
On her childhood preparing her for an acting career: “I was taught the value of imagination at an early age. I didn’t have a television. I read a lot of books and developed a good sense of storytelling. I was happy as well, and I think that helped. The more secure you feel, the more unbalanced you can let yourself become.”
Spouses
Terry O’Neill (1982 – March 26, 1987) (divorced, 1 child)
Peter Wolf (August 7, 1974 – 1979) (divorced)
QUOTES:
[on signing a six-picture deal with Otto Preminger that she later got out of] As much as it cost me to get out of the deal with Otto, if I’d had to do those movies with him, then I wouldn’t have done Bonnie and Clyde (1967), or The Thomas Crown Affair (1968), or any of the movies I was suddenly in a position to choose to do. Beyond the movies I might have missed, it would have been a kind of Chinese water torture to have been stuck in five more terrible movies. It’s impossible to assess the damage that might have done to me that early on in my career.
[on playing an alcoholic in Barfly (1987)] This character, who has given over her days and nights to a bottle, is my way back to the light. This is a role that I care deeply about. I haven’t felt this passion for a character since Network (1976). I saw the promise of a comeback for me in the deglamorized face of Wanda, a woman of sweet vulnerability.
[on Supergirl (1984)] The film was really just a send-up, a spoof, and I had a lot of fun with Selena. But every time I tried to do something funny, [director Jeannot Szwarc] wouldn’t let me. He said, “you have to be the straight person”. I always wanted to do comedy but it’s daunting when you’ve not done it before.
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BLUE BLOOD, 12min., South Korea Directed by Hye won Lee A world where blue blood is Replicant, Seogyo and his art teacher Tae-woo stay in the art room after school and practice, then cut their hands with a carving knife. Seogyo tries to deceive Tae-woo as if he is human because he should not be found to be blue blood.
REVERB, 4min,. South Korea Directed by Jusin Kim In a distant future where humanity has vanished, a lone robot explores the ruins of a desolate city. On the surface, the city appears completely abandoned, but the robot detects a faint reverb—an echo of time itself. This reverb, a memory of the space, holds traces of a melody left behind by a human. As the robot uncovers this final piece of music, it begins to reconstruct the memory of humanity’s last day, bringing the forgotten performance back to life.
THIS LAND, 18min., UK Directed by Nicholas Jones Roisin stands alone in the rugged Irish countryside, a guardian of the mystical land that has been in her family for generations. As a greedy relative seeks to exploit the earth beneath her feet, Roisin’s unwavering will and deep-rooted connection to the land propel her to fight back, unyielding in her defence of the magic that lies at the heart of the landscape.
NIGHT OF THE DIMENSION TROLL, 8min., South Africa Directed by Tyrone Donovan Patrick One dark night… a little boy gets ripped from a wonderful dream when a terrible little troll appears through a portal at the end of his bed… and steals his blanket!
PARADISE OF COLORS, 3min., Japan Directed by Jialiang Liu The human eyes are approximately 6.5 centimeters apart. Therefore, when we observe an object, the retinas of both eyes present slight differences. These differences are processed in the brain, and the two images are merged together. This process enables us to perceive space. If the images cannot be fully merged, it may result in seeing only the image from one eye or experiencing alternating or switching between two images. This phenomenon is known as binocular rivalry.
REGULAR DAY, 2min., China Directed by Kiam Yang Humans have undertaken experiments on numerous species in pursuit of extracting natural fusion substances.
East Indonesia. Communities of sea people live a life that ties them closely to the marine environment. They are known as Bajo, descendants of former sea nomads who were once roaming the ocean to fish and trade.
The inspiration for “Salt in their Veins” came from my passion for freediving. I was captivated by the extraordinary diving and spearfishing skills of the Bajo sea people. During my visit to one of their remote communities in Indonesia a few years ago, I saw how their lives are being transformed by modern influences. This experience motivated me to capture the contrast between their traditional and modern fishing practices.
Deadline to Submit to the Movie Trailers Festival:
Thank you for selecting my trailer for the film “May, 25th” as part of the Festival for Trailers Monthly. Thank you very much for this opportunity. This was a great experience! They are very professional. I recommend this festival for every filmmaker out there.
