I like happy endings in movies. I think life has a happy ending. When it's all said and done, it's all something worthwhile, and I want my movies to reflect that. There are enough things to be sad about. When you pop in a movie, let the message be one that's one of hope.
Jon Favreau
I did a guest thing on 'My Name Is Earl,' and there is something about being involved in a TV show that's in the midst of its popularity that frees up the creative process.
I don't think I'm egotistical as much as I'm taking responsibility for what I'm putting out there.
Of course I danced a lot when I was making 'Swingers.' The swing music scene was big in Hollywood, and I went to places like The Derby. And, after I wrote it and was trying to get it made, I would go every week so I'd be good at dancing.
I cooked a little bit in my first movie; I did a movie called 'Made.' For the little kid in the movie, I do a scene where I'm preparing a pasta puttanesca. I always loved watching that scene.
I was 22 and had worked on Wall Street for a year, and quit my job. I bought a motorcycle and sort of had this fantasy that I'd go cross-country like 'Easy Rider.' I went from New York to L.A., and on the way back, I stopped in Chicago and saw a friend of mine who was into improv. And I figured it might be fun to give it a shot.
I've always wanted to call the shots because I would rather fail than not have a chance to figure it out on my own.
A thoughtful piece of criticism by somebody who understands the context of what you are doing is a tremendous gift and honor to read, even if they don't completely embrace your work.
I think that anything that leads to creativity and good work is good.
There is no free lunch, so if you're playing with the big train set - on big movies - it's a lot of money they're entrusting you with, and you have to get that money back for them. I don't take that responsibility lightly.
I don't know that a movie like 'Daredevil' did better for having Ben Affleck then 'Spider-Man' did having Tobey Maguire, who was a relative unknown at the time.
Christopher Nolan's 'Batman Begins' set the bar very high for the superhero movie, as it showed that you could get a great cast for these movies and take a real filmmaker's perspective.
I'm not on chef level, but I'd make a good line cook. That's not too shabby.
Between the theme parks and the movies, the Disney iconography was probably the first set of archetypes that I was exposed to. Walt was able to expose me as a child to the full array of emotions, including fear and sorrow. Those movies and attractions haunted my dreams and made a deep impression on me as a child.
The ultimate storyteller is Shakespeare, who was able to get the 'groundlings' to laugh at his bawdy humor and storylines but could still be studied by scholars to this day for the complexity of his language, meter, and symbolism. That's the real guy.
I'm a very lazy person by nature. I have to be really engaged, and then I go straight from lazy to obsessive. I couldn't study chemistry, but I could memorize all the books for Dungeons and Dragons. It was ridiculous. The trick is to find what I like to do.
I love 'Star Wars,' you know, and I can't remember the last story meeting I've been in where 'Star Wars' wasn't referenced. It's so perfect in so many ways.
At the end of the day, it seems like there's a critic archetype for food movies, like with 'Ratatouille' or anything. You know, if you were doing a puppet show about chefs, one puppet would be the chef, one would be the critic.
I want to make sure everyone's having a good time because when I ask you to come to my movie, I'm throwing a party for you. I want you to enjoy it.
If you're going to be an R already, you may as well be 'The Hangover,' and you may as well be as shocking as possible, because that's what delivers the most return.
I've always been fascinated by chefs and the worlds of chefs - what they do is incredibly cinematic.
Everybody loves a hit. There is nothing as fun as making a cultural splash with a movie.
I think what is nice about 'Elf,' and why it doesn't play as one long sketch, is that the character actually grows up during the course of the film. It's not just a character that you can keep checking in on and keep doing sketches about. It's a story. I'm pretty proud of how we told it.
Movies like 'Chef' are not really box-office monsters in the summertime and don't really fit into Hollywood's business model any longer. Even if 'Chef' is successful, it will be successful in the context of what it is. There's a limited upside to a film that's so small, but there's also limited exposure for the people who backed me.
I've been fascinated by the world ever since I read 'Kitchen Confidential' by Anthony Bourdain. I've watched 'Top Chef' and watched interviews with chefs on 'Charlie Rose'... I thought they're really intriguing characters, and they really encapsulate that tension between vision and commerce, art and commerce.
I just adored 'Shaun Of The Dead.' That's a true mashup. That's a real Romero-era zombie movie and a real Gen X indie comedy. That was before zombie movies were cool, before 'Zombieland' and 'I Am Legend,' and now it has become a whole sub-genre.
You show people playing poker or hacking into a computer; it feels so significant in the script, and then when you see it on the screen, it loses something. But there's something about cooking - food being prepared is incredibly captivating. It became just a fun box of tools to use as a director.
There is nothing as fun as making a cultural splash with a movie. Sometimes the splash happens, like with 'Swingers,' where it sort of slowly ripples out, yet everybody could quote it. Or it could be something like 'Elf,' where you just make a big splash right off the bat when the movie comes out.
Get the shading right, the lighting right, and there are things you can do to make the CGI look more real. People end up going crazy and give themselves a little too much freedom in how they use CGI, and if you overuse it, it draws attention to itself.
I don't want to be an art-house movie guy, where people who go to film school can discuss your work, but people who haven't studied cinema can't appreciate it. By the same token, I don't want to be the guy who's making this commercial pap that people lap up but that disappears the minute you leave the theater.
For a movie - any movie - to work, all the bread has to fall jelly side up; everything has to go right. You have to hit the zeitgeist.
People think bigger movies are bad, and that's just not true - there's bad big films, and there's bad little ones. The bad big ones have to make their money back, so they'll push them down your throat, but the little ones just disappear if they're bad.
I think that part of the reason that 'Iron Man' was so successful was that we really chose to break new ground in a new area tonally, cast wise, the way we depict the hero, what his abilities are. It felt fresh in a genre that is beginning to feel stale if it's not done with the proper amount of inspiration and a strong voice or tone.
The irony is that the more unapologetically sexist men are in movies, the more women tend to be attracted to them in person.
'King Kong,' especially the first two acts of it, is a really good example of the use of miniatures mixed with digital characters and how convincing it was.
Half the people think I write Obama's speeches; the other half think I'm on 'Entourage.' So I'm at the level of fame where people kind of know who I am, but they confuse me with other people.
Scorsese's been a hero of mine since I was young. If you saw 'Swingers,' you know I was definitely fixated on his body of work.
When Iron Man's flying, we'd send real planes up to do the choreography so that we'd get the camerawork to really look like a cameraman was following from another plane. It gives it that 'Top Gun' look.
When Ron Howard does 'Rush,' he has to learn and steep himself in F1 culture and European racing culture, and that's part of the fun of the gig. You learn to learn. Your real skill as a director is being a learner and an observer. You're constantly learning another thing in context.
To see talented people in roles that others might not see them in, to see how they might fit in the puzzle of the cast, has always been something that I've been good at. I think that if you look at the successes of my films and start to peel them back, there's usually a really smart casting decision that has gone into that success.
I don't have a lot of patience for movies that aren't cleanly told.
What's fun about chefs is that they're big guys, often, and they might not look like the most athletic people, but they're very powerful people, and they have tremendous stamina... It takes a toll on their body, too.
I've hit a point where my big luxury is getting to work on the things I want to work on. That's my hobby. It's being able to do a movie like 'Chef,' where you don't get paid, where you get paid scale, but you get to do exactly the movie you want to do. To me, that's worth more to me than whatever money I would have gotten paid.
You have an hour and a half or two hours - maybe two and a half hours - in a movie, and it has to be a self-contained three-act structure. It's like a rock and roll song. Certain things have to happen for it to be a toe-tapper and get people excited, leaving the theater.
For me, I love food. It's my greatest pleasure and also the thing that could ruin you as well. It's one of those things where, if you're not thoughtful about it, it could be unhealthy. But if there's a mindfulness about it; it actually is a wonderful tool of emotional expression.
Back to the painting of the Sistine Chapel, there's always been run-ins between benefactors and artists.
When I'm working with improv people, I give them the green light to just bring it and try things.
I like reading reviews. If they're clearly hating on you, I try not to read that deeply. But if they really are trying to understand, it's interesting.
Especially in the food business, critics take very seriously how much power they have. They can shut a restaurant down.
Comic Con has become a very relevant venue for all films.
