The actors at that time had to learn all that stuff, it wasn't just hyperbole. What was appealing to me about being an actor at that time is that there was a home base, with job security. You were employed on a regular basis, and you had to sometimes do things you didn't want to do, but it was there. I also liked Hobie Doyle positivity.
Alden EhrenreichLet's say [Warren Beatty] wants you to speak louder in a scene. He won't stop playing the role and say to you as a director, "Will you speak louder on the next take?" He'll say it as Howard Hughes: "I can't totally hear you. Why don't you speak up a little bit?" To kind of keep this rhythm going.
Alden Ehrenreich[The Coen brothers] hire the same people over and over again, so there's a shorthand between all of the people they're working with.
Alden EhrenreichFor me, the drive is storytelling. To be a part of an art that tells a story and to be a catalyst, a color in that, is very exciting.
Alden EhrenreichWhen Tetro came out, I met with Warren Beatty for the first time. I had, like, a four-and-a-half-hour lunch with him, and then over the next five years continued to meet with him and go to his house.
Alden EhrenreichThe biggest challenge to being an actor is when you're not working, just being unemployed, the downtime and not having anything to do.
Alden EhrenreichSomebody comes to your house. You know they're coming, so it's not a surprise. And they give you an envelope that has your scenes in it. And they sit in the car outside for a half an hour while you read your scenes, then they ring your doorbell and you give your scenes back. Then you shoot the movie a few weeks later or something. The next time you see your scenes is the night before you start shooting. I never read the script [Blue Jasmine], so I didn't really know what it was about.
Alden Ehrenreich