Alden Ehrenreich Quotes - Page 2

I talked to Woody Allen for half an hour or something. It was pretty incredible. He really went into lots of detail about the story [in Blue Jasmin] and what actually happened. Just talking to him is very surreal.

I remember calling and asking, because I had a few lines that were like, "How could the character have done this?" and I hadn't read the part of the script that said what she [ Cate Blanchett] did, so they put me on the phone with Woody... Allen. I don't know if I could really say "Woody."

I got turned down for a million jobs until I got my first movie with Francis [Ford Coppola].

I'm kind of grateful that I didn't have any real success until I was older and basically out of high school. I think that was a real confidence boost for me, having it all start that way, in that very privileged position of having him vouch for me.

When I was 14 years old, I was by no means trying to work professionally at all.

I feel like I would have ultimately ended up pursuing acting. It probably would have been much more difficult and taken a lot longer for me to get into it professionally.

I'm trying to make myself sound better.

Even though I grew up in L.A., no one in my family was in the movie industry.

By anyone's measure, [Warren Beatty] is proven himself. But he still sets out to make something as great as it possibly can be.

I had an audition process that went on for a long time, and I got to spend a lot of time with the guys who are directing the film. Getting to be around them and being around the world a little bit has been the main experience so far. I did my audition on the Millennium Falcon for one of my screen tests, which was pretty cool.

I auditioned for four or five years and didn't get anything after that.

Same with the Coen brothers and Warren [Beatty]. And then slowly you get to know each one of them as a person, and that becomes a kind of separate entity, where you just know the human being.

When I worked with anybody like Woody Allen, there's the name, and your understanding of who they are before you meet them, that stays in your head a little bit.

It's a little bit about how I felt about Hail, Caesar! and now Star Wars. I could not have predicted those things happening to me. But I'm just happy they come along.

I actually remember getting asked when we were at the Cannes Film Festival, what I expected to do next. I remember feeling like there was no way I could've imagined that something like Tetro would have happened to me.

I remember Tetro was a big deal to me at that time. It was going from zero to one: Never having been in a movie, a person who had no relationship to any of that, and that was my first movie.

I've definitely been spoilt. Every movie I've done, it's always the same criteria: finding a great story, and finding a great part to play.

I think you always feel like you're about a hair's breadth away from being a bad actor anyway... It's not too hard to let the rope go slack, so to speak.

Each film and each character is a completely new set of challenges. It doesn't feel like you can rest on something you may have done well in the past.

When Tetro came out, I met with Warren Beatty for the first time. I had, like, a four-and-a-half-hour lunch with him, and then over the next five years continued to meet with him and go to his house.

[Warren Beatty] will sometimes spend hours on a very small detail to make sure he gets it right. After the kind of work that he's made, he certainly doesn't have to be doing that.

Warren [Beatty] loves to talk about his experiences with [Elia] Kazan.

[Warren Beatty] is voraciously detail-oriented.

I'd never worked with an actor-director before [Warren Beatty].

Let's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.