Jeff Bridges Quotes About Film
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Working with my dad was such a gas. We approached the work in a similar way. We only made two films together when I was an adult, Tucker, and Blown Away, but it was so much fun to play with your parent like that.
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I remember in one of my early films I had a drunk scene. It was Kiss Me Goodbye, with Sally Field, and I was playing this kind of nerdy guy who gets drunk and dances. And so I thought, "Oh well, I'll just get drunk and do the dance." And it was wonderful, but then I had the rest of the day, and the next day. So I learned that you don't really have to do the things that your character is doing. But us actors, we use something called sense memory. I've certainly been drunk before, and part of my job is to recall that without getting drunk.
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Making a film, it uses a certain... 'pretend-muscle,' I don't know what you want to call it. It exhausts something in me, I find. It has to be really something to get me interested.
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Making films is sort of like you're pulling off a magic trick. It's sort of like an illusion. It's not real but you want it to appear real, and all kinds of things go into that, from the clothes you're wearing to the make-up, to the light.
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Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual. But in "Iron Man" it was kind of like both worlds colliding because there was a lot of improvisation, not that we improv-ed in the scenes but to discover the actual scenes themselves.
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That movie, 'Airplane!,' what a landmark film it was. It's a great, great movie.
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Sometimes you feel you're making something really special and when it comes out you might still feel that way but for some reason it doesn't get the audience. So many things have to come together to get a creatively successful and financially successful film.
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Generally speaking I would say I enjoy the smaller films more because there's a less sense of pressure and often the material is more unusual.
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Seeing David Mackenzie's work in "Starred Up," I thought that was a wonderful film.
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You prep, you prep, you prep. And on the day that you film, you let all of that go. I try to achieve emptiness as much as possible - the Zen thing - to let the deal come out of that nothing.
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I think it would really be more like 10 films before I locked in and said, "Yeah, I'm really gonna do this thing."
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I've produced a couple of films and really enjoyed starting it from the very beginning and seeing it all the way through to the end; that was very gratifying.
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Often when I finish a film I'll have that feeling inside me: 'I never want to do this ever again. I don't want to pretend anymore. I want to be myself and do that.' And then, thank God, that feeling goes away after a month or so and I'm raring to go again.
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I've done movies in the past that have so many characters and I find it's very hard to follow all these stories. You end up not caring about any of the people and I thought that would be the case in this film, and you had these big speeches for each character, you know, it's like "God that's how you'll have to cut that down in order to paste it all", to edit the movie and my representatives could say "no, you really you ought to check it out.
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I'm very manipulative towards directors. My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
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We would do improvisation together. And that in a way, had almost a "student-film side" where we'd be sitting there with Robert Downey and Jon Favreau and we're playing around, we're jamming around and we read those pages and in next couple of days that's what we do, so it was a good experience. Kind of frightening at first because you didn't quite know how it was going to work out, but they had some very talented people there so it worked out well.
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I've gone out of my way to not take baggage with me from film to film.
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