I'm a control freak. Totally.— Stanley Tucci
The most delicious Stanley Tucci quotes that will add value to your life
A dream that you don't fight for can haunt you for the rest of your life.
Those moments in between the moments, those are the most interesting.
What's unspoken, the way we talk around things, the way our actions are inconsistent with what we're feeling, how anger and affection manifest themselves in strange ways at inappropriate times.
The constraints of melodrama can be a great blessing, because they demand that all the characters involved - as absurd and extreme as they may initially seem - must stay utterly rooted in their own reality, or the whole project collapses.
Like Joseph Mitchell, I would scour the streets of New York and find little pieces of what other people think of as junk - and collect it.
The thing is, I'm a very practical filmmaker.
I mean, Scorsese's a genius, and that's one way of shooting.
My partner, Beth Alexander, and I want to produce smaller films, but commercially viable films that will enable me to make the kinds of movies I want to make.
Ripe bananas are the mark of a good produce section.
A good produce section is the mark of a superior grocery store. A superior grocery store is the mark of a good man.
People wear shorts to the Broadway theater. There should be a law against that.
As a director you have to be careful you don't over-design the film.
You have to be careful that the period aspect does not take over.
But usually I'll wake up and start writing about nine o'clock.
I'll probably write for about three hours, and I'll do that over the next month and a half.
I don't like to move the camera that much anyway.
I write in the mornings. During my down time.
I was always attracted to the past as a kid.
I'm pretty much a character-driven film director and my movies are smaller.
I don't do a lot of coverage. I use lots of master shots.
If you find that thing you love, it doesn't necessarily matter whether you do it well or not-you just need to do it.
As a film director I like to have the actors create their own close-ups.
It's an older style of filmmaking.
I'm not interested in wasting money on a project.
Sometimes you can't even find the director on a movie set.
Sometimes you don't want to find the director on a movie set.
The smaller films just take a longer period of time to build their fan base because people don't see them as soon as they come out in the theater. They see them, after a period of years.
Every character, no matter who you play, at times is pretending to be somebody else. People have a public face and a private face.
I don't like things about serial killers.
There's so much serial killer information out there in documentaries constantly. A lot of it's just sort of gratuitous or it's almost like pornographic, really. There's no reason for it being shown.
I wanted to be an actor when I was a kid.
And I love doing my own projects; that's what I've always wanted to do.
I've been playing the father of teenagers for years.
People always thought that I was 40 when I was 26. Once you lose your hair, they're like "Oh! He's really old now."
If you feel safe then you can go wherever you want to go as an actor.
It's more interesting because you get to research the history of the period, and all the different aesthetic elements that make a film, particularly this film, so stunning.
I never go overbudget on my movies.
Sometimes it's difficult directing yourself on film because you can't quite separate yourself from the subject.
You gotta make the movie you want to make.
There is a joke that I use all the time.
I say it to my kids. I used to say it to my wife. She'd be talking to me about something very serious and then I would just look at her and go "Where are you from originally?" And she would go "Humphhh! C'mon. That's terrible!"
The action stuff takes a long time but when you're there and you're doing it and you go into that take and you run and everything is blowing up around you and you're diving onto something it's actually incredibly thrilling and you feel like a kid again. Like a kid, who used to play and pretend all those things would happen and now they're actually happening.
I'd read Up in the Old Hotel, and I wanted to do something with Mitchell's stuff for a long time.
When I write a screenplay, and when I direct, I always pull lines out.
I love directing - it's always so involving, so challenging.
I was dissatisfied just being an actor.
Every role is approached in exactly the same way, you have to make it believable and that's all. Acting is really serious, like, pretending really hard.
I didn't know you had to change diapers so often.
I couldn't believe it - we must change them 10 times a day - each. So that's 20 diapers a piece a day.
[Hollywood] studios are handing out money to make independent films now, but they all want the same thing. They want the style and the deadpan delivery of RESERVOIR DOGS or FARGO and so they imitate those movies. They want PULP FICTION, but they get it all wrong! They get the detachment, but that's it. And then it's all about style, and in the end what do you learn about the characters? Nothing. You learn you wasted two hours.
I've always considered myself an actor first and foremost.
I think it's important to have a good sense of humor and joke around with your kids. That's what I do a lot.
I think everybody has a little bit of an asshole inside of them.
The majority of directors I've worked with didn't know how to talk to actors.
As a director, I also get to sit and watch actors and learn from them in a way that I don't get to do when I'm just acting.
I would rather just do the things I want to do.
I'm interested in how people shoot because I have a very specific way of shooting and I'm fascinated by the way other people shoot films, particularly if they're smart and talented.
This is the funny thing about Skype. No one is really looking into the camera. People always looking down because they're looking at the image. You wish the camera was there in the center.
I like to use all of myself, and acting wasn't doing that.
As soon as the actor steps into the role, you probably can cut 50% of the lines because there's a person there now. And what a person does with their eyes, with their mouth, with their hands, the way they walk into a room, you can probably cut half the scene.