Alden Ehrenreich Quotes - Page 4

That's something that Francis [Ford Coppola] would always say. I remember when I was doing Tetro, he said, "Stay innocent. I'm 69 years old, and I'm still innocent."

I think that having had [Steven Spielberg's] confidence in me probably made me a little more immune to feeling as bad about myself in the face of rejection. I also was just so young - I was unaware enough to not take it too seriously.

Warren [Beatty] did a very cool thing, where he directs in character.

[Warren's Beatty] first film being with this very important director [Elia Kazan], I think we related on that in a big way. And I just was genuinely curious about his experiences in film, and about the people he knew.

Elia Kazan - the films he made were such a big deal for me when I was growing up.

I grew up watching a lot of old movies, so getting to ask about making movies in the '70s and people he was friends with, like Orson Welles, Lillian Hellman and Charlie Chaplin, and hearing a first-person account was pretty incredible.

I didn't read the script [ Rules Don't Apply ] for a couple years. It basically amounted to this kind of apprenticeship with Warren [Beatty]: conversations and learning about his whole background in the film industry and his life.

Somebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.

Just getting to talk to that person [Woody Allen ] in real life was pretty wild.

The movie [Blue Jasmin] shot very quick. I met Cate Blanchett in the car on the way to set, and we did that last scene, and she was just so phenomenal. I had basically met her that day. Because the way he shoots, everybody just shows up and does their thing, and he moves us very quickly.

Basically, Beautiful Creatures was the first lead that I had since Tetro, and it was a lesson in seeing what it's like to film a movie that's of a much bigger scale. It was a good initiation.

[The Coen brothers] hire the same people over and over again, so there's a shorthand between all of the people they're working with.

That was cool, because they've all [ George Clooney and Josh Brolin and Scarlett Johansson] worked with the Coens. They were much more at ease with them at the outset, and they were all kind of familiar with the shorthand that the Coens had.

Their way of working [the Coen brothers] is always kept pretty mysterious. I was so curious to see how they make these movies. It was just such a joy - they seem to have so much fun making their movies.

When you work for the Coens, they are so fun and so organized. They treat everyone with such respect. And the character I got to play was so fun.

I had one line. My two larger scenes had gone fine, and then on that day I screwed up that line over and over and over again. And every time I screwed it up, they can't use the whole thing because they're only using the one shot [in Blue Jasmin]. That was my last day.

One of the big takeaways from that experience [in Blue Jasmin] was just what a thrill it was to act with somebody like Cate Blanchett operating on that caliber. Because what she was doing was very powerful. T

[Woody Allen] does very few takes, and he doesn't give a whole ton of directions, although he does give direction.

There's a lot of complicated magical reasons why I'm not at the party that are too long and semantic to go into.

I want to make movies that people see. I really think that movies are the most popular form of story telling ever and have such a huge impact on culture when they do.

I did my first film with Francis Ford Copploa which spoiled the hell out of me.

An era that I specifically like is sort of late 50's, early 60's. I guess mid 50's too. I like these types of films that deal with post WWII America and this more complex leading man that kind of emerges from that.