Luis Guzman Quotes

I got a call from Shoaib Mansoor, and he asked if I'd be interested in doing the music of 'Bol.' I said, 'Why not?' and suggested we meet. When we did, to my surprise, he offered me the chance to act in the lead role. After reading the script, I was even more interested in doing it.

I love Malcolm Lee and jumped on the opportunity to work with him as a director.

It was amazing to work with a cast like Terence Howard and Colin Farrell.

I respect Srikanth garu, I worked as an assistant director for his film 'Radha Gopalam.'

I do a film because I would love to be a part of it, but I also think from the audience's perspective. Our profession survives because of our audience.

I think every film is like a team game, especially for me. I have always got films which have a strong cast.

Saying no to a project is not easy. I'm always under the impression that I might end up upsetting the director or producer of a film.

I'd love to work with Francis Ford Coppola. I met Coppola on an airplane.

Any film is a collaborative process, you've got thousands and thousands of people working on it.

Acting is not a competition; everything must be done for the good of the film or else everybody loses.

There's nothing worse than a director that keeps changing their mind. Because, unlike the directors I work with, I'm not decisive at all.

When I read the script it was extraordinary and to work with Yorgos [Lanthimos] again was amazing.

I really enjoyed working on the first one [Batman franchise] and I wish I could have worked with Chris Nolan again and I hope to work with him again.

They didn't send me the script for Scary Movie 4 because the script was very secretive. So I never did get one actually. But it is David Zucker and there is complete trust. So I read my scenes and I thought they were really funny. I thought it would be a riot to play the blind girl.

I don't normally get very star struck. However, I was just at a table read for a movie. It was an animated movie where they have all the actors come in and sit around a big table and read the whole script out loud so you can see what's working, what's not working. And this is an animated movie that Paul McCartney is doing and he's producing it. So I got to meet Paul McCartney.

It'll take me a lot longer to read a script if there's no director attached.

Campbell [Scott] also directed me in a film with Hope Davis called Final. That was the first thing we did together, but I've known him for years.

I've worked with Andre Techine lately and with a young unknown director on a short film. I choose my roles carefully.

I directed fourteen movies. Every movie had Hector Elizondo. He didn't like Beaches. I don't know, it was originally not a happy movie at all, it was much sadder than that. And they brought me in to kind of make it a little more 'warm', I guess you might call it. The original ending was a whole messy thing.

You live and die two or three times making a movie. First, you write it, and the first pivotal moment comes when you can get it made. The second is in the process of making it, when the movie reveals itself to you, its flaws and its virtues. Then the most unnerving moment is when that movie is then launched into the world. It’s like bringing your kid to the first day at school and somebody points out that it has bowlegs, it is cross-eyed, or it’s gorgeous. You feel very exposed.

I like movies. I've written screenplays as a sort of procrastination thing for me. Like I'll work for a couple months on this idea that's been kicking around and then like 30 pages in I'll just go try a novel because it's a lot easier. That's what I know. So why am I killing myself?

I remember when we were doing "Batman Begins" and to watch Chris Nolan go from "Memento" to "Batman" and take that leap from such a smaller size to a big movie, that's inspiring. But those movies are their own type of art and you have to really understand it and really know that world and I would have to take a long time to figure that out.Because my brain doesn't naturally go there.

[Stanley] Kubrick was a fascinating, larger than life guy who had been a friend for many years prior to our working together on that film. I found the best part of working with him to be the long conversations we had between set-ups.

I've worked with Neil Jordan, who I really adore. We did The Brave One [2007] together.

Any time someone says you have an opportunity to work with Martin Scorsese you jump at the chance.