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I like to watch those but I also like to watch humanistic films and films that are dealing with something important. (Allard J)
If it helps me in the way that if this movie is successful, I get to make more films, great, and the more films that I make and the more interest that I'm allowed to cover, the better for me and the better, hopefully, for the people who like to watch me. (Allard J)
If you see an intense big-budget movie, you know that actor really sacrificed for that movie. (Allard J)
It's very hard for me to play things even-keeled. (Allard J)
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Some movies get rushed out right after you make them and I'm not always happy with that. (Allard J)
Some movies I see today have the most dramatic plot points but the actors are not playing them dramatically. (Allard J)
The problem with making larger movies, five or six months, is that whose got the energy to keep themselves in that place for so long? (Allard J)
There are different reasons to make movies. (Allard J)
Yeah, I'd like to get the girl and at least make it through the film. (Allard J)
I do love the movies I've done in the past. (Allard J)
This will be the definitive King Kong. (Allard J)
When you're the one character that changes dramatically in the movie ... it better be a change for the better. I think it's an improvement on the past. It's a more likely relationship. A screenwriter would fall in love with the woman he's writing for, his lead actress. I think there wasn't really enough of a love connection on the first one. (Allard J)
I think it proves I can hold my own in a big studio movie, and I can play a leading man without making him a stereotypical leading man. We can be sensitive human beings in this world and be tough guys, too. (Allard J)
I'd like to do, you know, a lighter film with a beautiful girl and an interesting relationship developing. Humor and slapstick. It's all gravy. (Allard J)
I think people go to movies and they know too much about the movie before they go into it, whether it's the advertising or they're reading too many stories about it. And they know all the essential elements of the film before they even go into it. And I think that sabotages a thriller. (Allard J)
But you pick yourself up. The advantage of being a bigger name is it costs them too much money to cut you out of a movie. (Allard J)
So for the entire movie I had braces. I never knew what braces were like and I didn't know they ripped them off with pliers at the end, but I agreed to do that. (Allard J)
One thing I'm now asked is 'Oh, you're changing, you're now doing studio movies'. (Allard J)
That was a nice benefit, to have a real bit of social good come out of doing the film. (Allard J)
When I read the script, I just started pacing back and forth, laughing. I thought, 'I could see myself doing this.' And it's set in New York? That's it. (Allard J)
It's a family drama dealing with these people and about their lives. Talking to Jesus, it's really kind of what Daniel's imagination of what talking to Jesus really would be like, and it's fraught with all of Daniel's limitations. . . . It's literally the internal dialogue of Daniel. (Allard J)
It is Daniel trying to think 'WWCD' -- what would Christ do. What would Christ say? (Allard J)
Nowadays people don't know how to handle it if all the ends aren't tied up and they're not told what to think in films. And if they're challenged, they think it's something wrong with the film. (Allard J)
People used to drive through here from Hollywood to see their movies. (Allard J)
I came off a huge-budgeted Hollywood movie and went to a place where you could hear yourself think. (Allard J)
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