“Say you have 1500 words in a scene the next day. So you take all of your dialogue and you write it out in a run-on sentence. You write it out illegibly, so you must kind of know it by the time you write it down or it’ll be pointless. And then when you arrive on set the next day, you write it down in acronym.” — Robert Downey Jr., on how he memorized his lines for A Scanner Darkly (2006)(x).
“Montgomery Clift had the most earnest of faces: big, pleading eyes, a set jaw, and a side part that reminds you of old pictures of your granddad. Onscreen and off, he was what the kids these days would call “an emo” and the least generous of your friends would call a “sad sack.” If he lived in the ‘90s, he would have been king of the heartfelt mixtape. Clift played the desperate, the drunken, and the deceived, and along with Brando and Dean, heralded a new direction in cinematic masculinity. But a car crash in the prime of his career left him in constant pain, and he drank himself to an early death. The trajectory of his life was a tragic as any of his films. But for 12 years, he set Hollywood aflame.”
You go into a supermarket and your face is on a cake and underpants. And all that’s very odd. It’s not what you imagine when you go to drama school, that you’ll be commemorated in plastic and icing, and cotton.
Stuff that Keaton did in movies 60-odd years ago is shocking, so brilliant. He did stunts without wires and head spins that - and man, I know, because I’ve tried to do them again and again - cannot be done by a human being. Unless you’re Keaton. Or, maybe, a 12-year-old Russian gymnast. —Johnny Depp