Alden Ehrenreich Quotes

I'm just excited to be a part of the movie [Star Wars]. It's always the particulars that are the most exciting.

Same with the Coen brothers and Warren [Beatty]. And then slowly you get to know each one of them as a person, and that becomes a kind of separate entity, where you just know the human being.

I had one line. My two larger scenes had gone fine, and then on that day I screwed up that line over and over and over again. And every time I screwed it up, they can't use the whole thing because they're only using the one shot [in Blue Jasmin]. That was my last day.

That is sort of the eternal question for people who go to Hollywood...what will be the straw that breaks the camel's back, and forces you to think about doing something else? When do you throw in the towel?

Warren [Beatty] loves to talk about his experiences with [Elia] Kazan.

Warren [Beatty] did a very cool thing, where he directs in character.

I've always felt whatever the opposite of disillusioned is. I guess illusioned with movies and with people in movies and things like that. It's all exciting to me.

I did my first film with Francis Ford Copploa which spoiled the hell out of me.

It feels like you're being invited into a kind of community [working with the Coen brothers].

Like I've known Francis [For Coppola] for so long I think, "Oh, Francis." And then you see his name on something with The Godfather, and you go, "Oh, yeah. He's also that." The person you knew of before you met the actual person.

It was pretty fun [auditioning on the Millennium Falcon], because I enjoyed the material a lot. Last year I read for the directors, then came to England and did a test on the Falcon, then came back and did a couple more screen tests in Los Angeles.

The idea of it [Star Wars] is really exciting, but the most fun part is the actual job you get to do: the character that you get to play, the people that you work with, the day-to-day experience.

For me, each one of those experiences stands on its own. The first one was with Steven Spielberg, who helped me to get an agent and vouch for me, and that gave me the confidence to continue.

I talked to Woody Allen for half an hour or something. It was pretty incredible. He really went into lots of detail about the story [in Blue Jasmin] and what actually happened. Just talking to him is very surreal.

When 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.

By anyone's measure, [Warren Beatty] is proven himself. But he still sets out to make something as great as it possibly can be.

The last three movies I've done, I played a cowboy, then I played a soldier, and now I play Han Solo. So the little kid in me is having a real joyride.

When I was a little kid, my parents would show me Marx Brothers films and westerns and stuff like that. Thats where all my desire to be an actor comes from and probably most of my understanding of acting comes from for sure.

What's exciting to me now is the idea in participating in a landscape of moviemaking that's completely different - the way you can make a movie with a 5D or something and what's going to come out of that. Especially the generation under us who grew up with the internet. When they are making films in the next ten years, they're gonna be so different from what we've seen before because their whole worldview is so different.

Let'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.

[Howard Hughes ] approached filmmaking like he approached all of his inventiveness - it gave him an opportunity to make a name for himself in the world.

I grew up watching a lot of old movies, so getting to ask about making movies in the '70s and people he was friends with, like Orson Welles, Lillian Hellman and Charlie Chaplin, and hearing a first-person account was pretty incredible.

That's something that Francis [Ford Coppola] would always say. I remember when I was doing Tetro, he said, "Stay innocent. I'm 69 years old, and I'm still innocent."

When I worked with anybody like Woody Allen, there's the name, and your understanding of who they are before you meet them, that stays in your head a little bit.

[Warren's Beatty] first film being with this very important director [Elia Kazan], I think we related on that in a big way. And I just was genuinely curious about his experiences in film, and about the people he knew.

It's always been very important for me to be surrounded by people. It's never been enough for me to be successful alone. I want to be around people my own age who are also doing things I can learn from. And something Francis Ford Coppola said when we were doing the movie was, "If you learn something about people when you do dinner with them every week, you'll learn a lot more if you play softball with them every week." This is us learning what the climate is creatively among us.

Each time demands its own kind of film.

There's a lot of complicated magical reasons why I'm not at the party that are too long and semantic to go into.

I feel about romance the same way I do about a vocation; it's a calling.

Elia Kazan - the films he made were such a big deal for me when I was growing up.

I want to make movies that people see. I really think that movies are the most popular form of story telling ever and have such a huge impact on culture when they do.

That was cool, because they've all [ George Clooney and Josh Brolin and Scarlett Johansson] worked with the Coens. They were much more at ease with them at the outset, and they were all kind of familiar with the shorthand that the Coens had.

Acting-wise, I've had all these experiences. Yet when I look at certain people whose careers I admire, they've gotten to play so many different characters. So it's just that - getting to have more of these singular little adventures where you get to be a part of a completely different world.

I met Scarlett [Johansson] briefly, but Josh [Brolin] and George [Clooney], in particular, were so welcoming and so inclusive and really brought me into the fold from the beginning. They were just very considerate of me, and it meant a lot [shootong Hail, Caesar!].

I've definitely been spoilt. Every movie I've done, it's always the same criteria: finding a great story, and finding a great part to play.

[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.

You get bummed out, and then you go, "Oh! Now I get to go buy a present for myself." That kind of helps.

Somebody 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.

I'm an actor because I love movies, and always have loved movies. I'm a film buff. So, getting to work with those kinds of directors and getting to tell those stories is what I want to do.

[ Woody Allen] persona in the films are so iconic; it's like on par with Groucho Marx or something like that.

I had the opportunity to learn more about what life is like for a soldier [in The Yellow Birds].

I'm kind of grateful that I didn't have any real success until I was older and basically out of high school. I think that was a real confidence boost for me, having it all start that way, in that very privileged position of having him vouch for me.

The biggest challenge to being an actor is when you're not working, just being unemployed, the downtime and not having anything to do.

Just getting to talk to that person [Woody Allen ] in real life was pretty wild.

For 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.

Warren [Beatty] was very adamant and very encouraging of me to direct. It's definitely something that I'd like to pursue more in the future.

I think you always feel like you're about a hair's breadth away from being a bad actor anyway... It's not too hard to let the rope go slack, so to speak.

[Warren Beatty] will sometimes spend hours on a very small detail to make sure he gets it right. After the kind of work that he's made, he certainly doesn't have to be doing that.