Katherine Heigl Quotes

I just wrapped this movie called 'The Wedding Crashers' which was a pretty big break for me.

I don't think Hollywood knows what to do with me. I would imagine that when it comes to romantic comedies, my name would be pretty low down on the list.

Americans have always been excellent at making romantic comedies - but dramatically, we don't really try to do it.

Since I got into the movies, 'Running Scared,' that did $40 million. 'Princess Bride,' I got good reviews for the character Miracle Max. 'Memories of Me' didn't do well. 'Throw Mama from the Train' did $70 million. 'Harry and Sally' did 95 or 96. 'City Slickers' did $120 million.

We enjoyed such amazing success on Sex and the City. You don't expect success on that level, it was such a big deal, and it was so intense and wonderful that it is hard for anything else to live up to it, quite frankly. So now I just try to have fun and work with interesting people. I think that there is a perception that certain films won't be popular. So it was great that The Devil Wears Prada did really well.

I think Hollywood has always, you know, there's always been glamour associated to it. And especially in the last ten years there has been a growing sort of obsession with celebrity life and celebrity culture.

When we wrapped Resident Evil, we were a 3D movie, but it was no big deal. And then, Avatar came out and the whole of Hollywood was like, "Look at these grosses! 3D is huge. Let's all be 3D!" We just got on with doing what we were doing, which was making what we think is a really quality, kick-ass 3D movie, and we'll really be the first live-action 3D movie of the year.

Well, I started years ago with Flashdance and we also did Coyote Ugly, so I have put my toe in the water before with romantic comedies. I love making them and I love making people laugh. That's a trademark that I don't think any producer would turn down.

A whole other generation is coming up to me now - anywhere from 8 to 22 years old - wanting me to sign autographs. They think Journey was awesome.

If you're going to do a romantic comedy it was about housing it in something that we haven't seen before.

It's interesting because First Wives Club was the first movie that made a shitload of money that starred all women over a certain age. That was a milestone that made you think, "Oh, things are going to change."

As a matter of fact - it'll probably ruin my movie career - but I think better storytellers are in television.

One of my best friends is Paul Rudd, and he's been in just about every one of Judd Apatow's movies.

Films don't take as long as people think. 'Harry Potter,' people always used to say, 'Well, my God, do you ever get any time to yourself?' I think I did, in 'Harry Potter,' over a 12 year period I did five days. So it's not exactly exhausting.

I think the world is ready for people of color to take on more heroic and leading roles, and not always be the sidekick, the nemesis or any sort of stereotype of what a person of color can play typically in a Hollywood picture.

I think if anybody had a roll of dice with a lot of money at stake, they would not want Wes Craven and a romantic comedy.

When you're asking about roles for men and women, men certainly have a longer shelf life. Men can play the sexy lead for 20 years longer than we can.

I've had a desire to coach for years. This was something I felt I should do.

Addams Family blew my mind because it was the first time I was in L.A. and Hollywood, and I grew up a huge fan of movies.

I wrote, I think, half a dozen films that were completely out of genre. Comedies, love stories, even one serious film about Vietnam, and we couldn't get backing for any of it. And we both sort of drifted from making, at that time, serious money on Last House to going through it all in the course of almost three years and only getting offers to do something scary again.

I had more trouble than I had a sense of utility or satisfaction. But it served to occupy me and to keep me occupied in a field that I love - which was cinema - while I was waiting to realize the film that I wanted to do, which was Once Upon a Time in America, which took ten years of thinking and working to realize.

I think it's pretty obvious that women's stories are not necessarily being told in Hollywood and women are not necessarily being put in the leadership positions they deserve in mainstream film.

Cosmopolis is the movie of my life. I didn't consider myself an actor before, even if I had 10 years of acting behind me. I always felt like a fraud, and inappropriate. I doubt a lot. David Cronenberg gave me confidence in myself. He changed my way of acting and thinking in this industry.

I still go to the conventions, and I like to hear the point of view of people today. I'm a little afraid they're being brainwashed by this new pop-culture. I think it's not really elevating our lives like it did in the good old days of Hollywood, where you had a happy ending. They used to criticize happy endings, but really, what's the point of going to a film if you have to come out hating your fellow man?

I look at Woody Allen's prolific career of 30 or 40 films, and I'm watching the clock. I'd love to work at a clip of a film a year. We don't get the benefit of the doubt, particularly black women. We're presumed incompetent, whereas a white male is assumed competent until proven otherwise. They just think the guy in the ball hat and the T-shirt over the thermal has got it, whether he's got it or not. For buzzy first films by a white male, the trajectory is a 90-degree angle. For us, it's a 30-degree angle.