Colleen Atwood Quotes

I really enjoyed being on movie sets, and I had fun with the people, but I didn't really think about acting or care, or I didn't think I cared about acting.

I was an intern on a film called 'The Long Walk Home.'

I think being on a film set for such a long time made me a technical actor without realizing it.

Working on such a big film was amazing. I learned a lot. There weren't too many stunts, just some doubling.

When Carpenter was shooting 'Vampires' in New Mexico when I was living there, I desperately tried to get a job working on that film, and I couldn't. So my first job as a PA was on a CBS movie of the week that was shooting next door, and whenever I could, I would sneak over so I could watch.

I'd done about 10 movies before I decided I wanted to make acting the main thrust of my career.

I design all of the costumes for my movies, actually.

And I'm very surprised that all this stuff actually worked out to where I could have a career in film, gain the benefit of my education, and be thankful that I was able to break into my craft as an actor.

I worked for a lot of directors.

'Baby's Day Out' is maybe not a great movie, but... No, I've enjoyed and learned things from every project I've worked on. That was an important step in my career at ILM.

My introduction into the film industry happened with 'Masaan,' which was a multi-star cast film. I was just a part of the film.

When you start out, you're hungry to take any job. I didn't go to film school - I went from high school to a show about high school and on to directing.

When I entered the film industry, I didn't know anything about acting.

I remember typing up my dissertation sitting in a horse box - I didn't qualify for a caravan - on a set in Pinewood on my first film, 'Still Crazy.'

My grandfather D. Ramanaidu has been in the film business for over 50 years, so I grew up in films.

When I was a boy, I was 15-16, I had a job during the school holidays as an extra. That's how I started. My first time on set was as an extra. I did it for two years. It was amazing!

It's not so important to me where I work. A lot of good writers and directors and actors come out of Hollywood, so obviously it would be great to work there, but there's some great stuff coming out of Britain, so I'm going to see what comes from all angles.

I had watched 'Stanley Ka Dabba' and wanted to be a part of Gupte's kind of cinema. As an actor, I am hungry for diverse roles and my sole aim is to learn as much I can from him.

In terms of my career, it began in earnest when I was living in Boston. I started doing my own films, working initially as an editor and editing assistant - briefly - at WGBH, as an editor on other people's movies, trying to get some experience under my belt, but eventually just doing my own short films, doing them my way.

My father did think I should get interested in television. But I had very little interest in television and it wasn't something I wanted to do. I really never thought about going to work on big feature films in Hollywood. But when we made The Householder, Columbia Pictures bought it. Who would have ever imagined?

Well, this movie I've been working on for a while. I had the idea for the movie like twenty years ago when I was doing 'Empire of the Sun' in 1987 because at that time that's when all these Vietnam movies were being made and my friends and I were going on auditions for these Vietnam movies and my friends were getting them and going away to fake boot camps.

The American people recognize that their careers or their kids' careers are going to have to be more dynamic. That they might not be working at a single plant for 30 years. That they might have to change careers. They might have to get more education. They might have to retool or retrain. And I think the American people are game for that.

Hail, Caesar! is about, in my opinion - I love that movie - but I think it's about the idea that as glamorous as the business is, and for as much hoopla that surrounds moviemaking, ultimately it's just a job. If you focus on it, you can do it really well, and it takes a lot of hard work.

I think for Wes [Anderson] and me, the most important thing was James L. Brooks producing our first movie and giving us a chance to come to Hollywood, because without him, we might never have gotten the chance.

I think about the period of, like, the '70s and early '80s where nobody had money to make big movies and there was no CGI or anything like that and people had to get super creative. And then, you know, when you've got somebody who can paint you any picture on a computer and you get hundreds of millions of dollars to make a movie, its almost like the creativity diminishes somewhat.