Brendan Fraser Quotes - Page 2

I remember thinking, I want to work for the camera.

I wish I could have 25,000 years of my personal family history documented in a very powerful computer or a CD-ROM that I could just pop in and my computer would never crash

As sophisticated as the technology gets, the less sophisticated you have to become as an actor.

The dimensionality of 3D, the depth of field, the dynamism... it's an immersive experience. And on top of that it's great because the new glasses don't make you want to throw up and they don't give you paper cuts!

I felt a gravitational pull to the material so that there's a certain element of acting that's not really necessary. I've really liked this in foreign movies before or I've observed others working with them and I've noticed that there's a method that goes on where the actors try and get the children, like the child actor, to interact with them in a real way. It seems like you're the adult trying to get the kid to fall in love with him.

While green-screen work, find a way to stay true to whatever it is that it takes to act a scene out, and make sure that you use your imagination as best as you possibly can, still stay loose, and still allow yourself the liberty of doing what you need to do as an actor, and then work within the confines of what is actually possible.

I have so much satisfaction in my life. I have a beautiful wife and the great stimulation of an interesting career. I'm the most happy fellow that I know.

It's nice to know that if you've worked really hard at something, it gets recognised with a tick in the success column - however you define that, be it making a bunch of dough, which the actors never see much of, or whether it's a piece that's enlightening or stays with the audience maybe six, seven or even eight or 10 years later.

I recently watched Peter Brook's Lord of the Flies, and it wasn't a favorite film. Then I saw the one that was made in 1990, which in my opinion didn't match up to the original.

If you run an Internet search on Vietnam and the war, most of the information you get begins at about 1962. I think this is telling. It is missing the whole period that led up to the reasons the war happened in the first place.

I wanted to have the opportunity to travel to Vietnam and Sydney, and have the chance to work there.

I was molded, spent my time underneath a lot of goo. And then the bits and pieces were sculpted. It took probably 10 days to create each character after all those camera tests.

Elizabeth Hurley and I had a lot of fun together. She's a very beautiful, confident woman.

Graham Greene, as I understand it, was quite outspoken in his criticism of American foreign policy.

Ian McKellen is brilliant with research. I paid really close attention to the sources he goes to. He's a very, very intelligent man.

When you throw punches at actors, you stop, you pull it, and it looks like you pulled it. When you throw punches at cartoon characters, they are not there, so you can swing through. It looks like you really decked them.

I always approach comedy roles pretending they aren't funny.

Saigon is hot, full of atmosphere, activity, and commerce.

I've been grateful enough, smart enough to take the work with Ian McKellen in Gods And Monsters.

I suppose if it has a practical purpose, I appreciate a pat on the back. I suppose it's rewarding, ultimately.

I still don't understand the music industry that much. Everything I learned was from hanging out with rock musicians in studios. I certainly have respect for those who make music their livelihood.

Burroughs was never really that pleased with the way popular culture and society treated his character. He tried to make a few movies of his own as a result, but they weren't very good.

I haven't been one since I did a film called (coughs) Encino Man (laughing). After two or three runs with Pauly Shore, I had enough. Watching this film in 3D as far as rollercoasters go really fills it for me.

I just rely on the text to speak for itself and then speak it as I believe it to interpret it, and then just know that the rules of the world that we're creating allow for things to come to life, and then just trust in the process of making a film. Hopefully we'll make a sequel, because if we do, we had such a great time as an ensemble, I think the best thing to do would be to just take the whole cast back. This is Iain's idea and I agree with it. Just reincarnate all the characters and put them back into the world. There's no rules. Why couldn't we do that?

George of the Jungle is a cartoon. He's a guy who swings around on a vine all day. Are you not buying that?