Kyle MacLachlan Quotes

I was just a bumpkin. Just a country bumpkin. I had just come to New York from Virginia. Or was it Baltimore?

I was always getting run-down from jet lag and being in strange towns where I didn't speak the language or know what the food was like.

I was so grateful to have made 'Into the Wild' before I made 'Speed Racer' because on 'Speed Racer' I was indoors every single day, every single scene, on a green screen. Some of the time, just to pass the time, I would think back to climbing mountains in Alaska. That really helped me.

I'll never forget travelling to New Zealand for three months to make the 'Underworld' films - that was pretty special.

I woke up as the sun was reddening; and that was the one distinct time in my life, the strangest moment of all, when I didn't know who I was - I was far away from home, haunted and tired with travel, in a cheap hotel room I'd never seen, hearing the hiss of steam outside, and the creak of the old wood of the hotel, and footsteps upstairs, and all the sad sounds, and I looked at the cracked high ceiling and really didn't know who I was for about fifteen strange seconds. I wasn't scared; I was just somebody else, some stranger, and my whole life was a haunted life, the life of a ghost.

I've been back home since November and gradually all connections with my HP life have been fading. It’s gotten to the point where I feel like it was a dream because everything has gone back almost exactly to how it was before it all happened. It's possible to forget and it’s only when someone asks ‘when’s the movie coming out?’ that I remember 'oh yes, that'.

I thought everything would be different in America. It wasn't.

In 'The Smurfs,' I was actually a live action character. So, I was a real person in that movie. But I was working with animated characters, which is very strange because they're off recording their work, and we're kind of reacting to nothing when we're doing the film.

I definitely remember doing 'The Alamo' with John Wayne and Lawrence Harvey and Linda Cristal. We'd work six days a week, and then John Wayne would invite us down to a little place in Texas called Del Rio, and we would break bread and have some wine and tell stories.

I really wanted 'NH10' to be made, and being associated with it eased the entire process.

Climax shoot for 'Dabangg3' has been very hectic yet a great experience.

I used Malta as a location to shoot a lot of my action sequences, and that's because we don't have the kind of setup that Malta Film Studios does. They have a world-class facility.

I cut 'Deer Hunter' myself.

Come to think of it, some of the most special films in my career were 'City Of Life' and 'Happy New Year.' For both these films, I stayed over a month in Dubai and just when I was thinking that I need one more film like that, that's when 'Kung Fu Yoga' happened.

I'm really looking forward to filming in Glasgow with a top-class cast and crew.

I like to make movies in Texas because that's where I learned how to do it. I know the industry there, I know the people, I know the crews. But it's hard to make films in Texas.

I was very affected as a foreigner coming from Copenhagen, which is the safest, most liberal town in the entire galaxy. I was like an alien stranded in a strange land for the first time in the U.S.

I loathe nowheres - airports and bland hotels. I would rather be in an unpleasant, uncomfortable place rather than one just adrift, floating around.

Filming 'Jamestown' in Budapest for six months felt like summer camp. There was a lovely cast of 16 actors, and we got along so well.

Chicago's a great city for filming. The city is so rich architecturally. I think that's part of what made 'Candyman' special.

Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.

We just started filming 'Stray Dog' really close to the finishing of 'Winter's Bone,' down in Southern Missouri.

Shooting for Aamar Pratigya' was a completely delightful experience for the 25 days I shot for the film.

Around 1978, I got really, really sick of waking up in hotel rooms when I don't know where I am.

I love filming in London. In New York, every street is familiar because you have seen it in a movie. They mythologise their own city. You're forever trying to get down streets that have been blocked off because of shooting. In London, they don't put up with it; they're grumpy.