Stanley Tucci Quotes

It's different if you're a painter. You can hidethe ones that don't work. You can't do that with movies. They tellthe story of who you are at the time, and that's the wonderful thingabout it.

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.

Sometimes it's difficult directing yourself on film because you can't quite separate yourself from the subject.

I'm actually one who will encourage directors to cut my lines.

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'm not interested in wasting money on a project.

I would rather just do the things I want to do.

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 make time to write.

I have consciously not taken the role of a gangster, which has been offered to me far too many times.

I'm a control freak. Totally.

I like to use all of myself, and acting wasn't doing that.

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.

I think everybody has a little bit of an asshole inside of them.

I like to see how I can do it for less money.

I've always considered myself an actor first and foremost.

Every character, no matter who you play, at times is pretending to be somebody else. People have a public face and a private face.

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.

Big Night and The Impostors are both things that I wrote.

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.

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.

If you feel safe then you can go wherever you want to go as an actor.

I mean, Scorsese's a genius, and that's one way of shooting.

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.

Early in my career, people wanted to pigeonhole me as the bad guy because I'm of Italian-American descent, which they often were when I started out. You have to fight against it. One of the things that helps is the ability to do comedy.

I never go overbudget on my movies.

Even The Impostors, as silly as it is, is a very intimate film, in a way.

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.

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.

What's great is when you're working with somebody with whom you have a connection, it's exciting because there's a shorthand and you trust each other and you have a good time together on the set and so you can go a little farther than you might normally because you're with somebody that you trust.

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.

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!"

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."

The most I've ever done was twenty-something, but that's wasn't because I wanted to. I feel like to me it's usually somewhere between two and- no, it's very hard to say because it really depends up on the shot, you know? If it's a complicated master shot and you know that this is the only thing that you're doing for that scene, a complicated one-er, you're going to maybe end up doing a few more takes than you normally would. But I'm not a big believer in doing tons and tons and tons of takes.

I write in the mornings. During my down time.

You gotta make the movie you want to make.

So yes, I hope to act in other people's movies, big and small, because that's how I make my living, really.

I wanted to be an actor when I was a kid.

Whatever the best scripts are and you just want to play roles that you can really sink your teeth into. That's always the goal no matter if it's a good guy or a bad guy, or a comedy, or a drama. It doesn't matter, you just want something that's substantial you can sink your teeth into and that you haven't done before, something that's really going to challenge you.

The majority of directors I've worked with didn't know how to talk to actors.