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For me, it was hard in a different way than with Heath. Because I think Heath was kind of constantly being pushed back by Ang, pushed back into his skin, and he wanted to come out. I had heard all these stories from actors who had warned me that after the first day of work, Ang said, 'You'll get better.' So I was waiting for that. And the first day of work he walked out to me and said, 'Great job.' And I was like, 'Uh-oh, that's not good. (Allard J)
I thought Heath had broken my nose while we were filming that scene. Both Michelle and Ang kept insisting the kiss had to be more fierce, more intense, more passionate, so Heath pushed me against the wall and came in really hard for the kiss. (Allard J)
That was so scary, the last scene Heath and I shot together. We finally get to say to each other what we want to say, and I was really nervous because there were so many emotions, and both men have been holding so much back. Luckily, the dialogue is so great that it worked out. (Allard J)
I think something more formulaic was expected. But this movie is not just about the experience of a soldier, but also of a human being. We live in a world that is not always full of action. (Allard J)
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It was surprising for a picture called Elf. It was actually edgy. I think the nice thing about the film is that my mother laughed, my kids laughed, my friends laughed, and usually when they call something a family movie, I think, "uh-oh! I'll have to suffer through it." (Allard J)
It's a very charming movie about the mob - a real stretch for me. (Allard J)
I didn't turn the script down. It was the title. It didn't sound... right. From The Godfather to Elf? My agents told me: "We're sending you a script called Elf", and I said: "No you're not!" (Allard J)
But I believe that when all my Jewish brothers see this film, they will realize that it's not about assigning blame. (Allard J)
But, you know, The Thin Red Line was my first big film - my first big lead. (Allard J)
He wanted to make this film very Semitic. (Allard J)
I think you can't be passive in making this film-or in watching it. (Allard J)
If you went into a 40,000-foot warehouse, even if you just light a match the match pierces the darkness. It pierces even in the vast amount of darkness. As I see it, the movie is a light, it is a match. (Allard J)
There's no broad brush applied here to any particular group. Mel says this quite frequently, that this film does not play the blame game. (Allard J)
Eternity? ... That is one hell of a movie. (Allard J)
Rebel Without a Cause. (Allard J)
I don't like to watch me on the screen. I don't think I'm very good. I just don't have a lot of confidence in me, I guess. I've probably seen about a fourth of the things I've done ... I cringe when I see it. I might be a little picky. (Allard J)
It was a marvelous script. ... It's a beautifully framed movie, it's beautifully cast and wonderfully acted. (Allard J)
The lifeblood of my career has been independent film. (Allard J)
So you can say whatever you want and quote me however you want about politics and make the next payday, and that's fine because I'm making that deal with you, but just mention the movie along the way, OK? (Allard J)
Mumford more than any movie marked the turning point ... That was the first time where I really changed my mannerisms my speech mannerisms, the way I talked, the way I carried myself. (Allard J)
A movie doesn't open the opening weekend and then get burned -- they don't destroy it. It lasts. So what about Raging Bull ? Do you know how much that made opening weekend? No. (Allard J)
A lot of action movies today seem to have scenes that just lead up to the action. (Allard J)
And if people come up and say they like the movies you're in, it's a great compliment. (Allard J)
It's something I never dreamed I'd be doing, making movies. (Allard J)
Jet was very busy. I've been inspired by a lot of his movies. (Allard J)
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