Best 80 quotes of Alden Ehrenreich on MyQuotes

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.

Basically, Beautiful Creatures was the first lead that I had since Tetro, and it was a lesson in seeing what it's like to film a movie that's of a much bigger scale. It was a good initiation.

[ Being director] is really reassuring to me that it's just about who is right for that role and less about if you ace the audition. It's just about getting to know people, not about who's a better actor a lot of the time. It's about who fits that particular suit, you know?

But even a kid, directing was something that I did. I made short films in school. I feel like I've been in the best film school in the world.

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

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

Even though I grew up in L.A., no one in my family was in the movie industry.

Even when Warren [Beatty] cast me, it had been two years between films at that point.

For me, it was watching 'Reds' and 'Splendor in the Grass.' To me, 'Splendor' is like the companion piece to 'Rules Don't Apply.' It's set in the time when Warren [Beatty] came to Hollywood, and when he did that first film.

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.

[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.

Howard Hughes innovation was in the aviation field. His designs and spirit of experimentation was at the forefront. As far as his work as film producer, he certainly went after a bigger and more ambitious kind of filmmaking, even if he wasn't necessarily a cinema artist.

I actually remember getting asked when we were at the Cannes Film Festival, what I expected to do next. I remember feeling like there was no way I could've imagined that something like Tetro would have happened to me.

I auditioned for four or five years and didn't get anything after that.

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

I didn't read the script [ Rules Don't Apply ] for a couple years. It basically amounted to this kind of apprenticeship with Warren [Beatty]: conversations and learning about his whole background in the film industry and his life.

I'd never worked with an actor-director before [Warren Beatty].

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

I got turned down for a million jobs until I got my first movie with Francis [Ford Coppola].

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.

I had an audition process that went on for a long time, and I got to spend a lot of time with the guys who are directing the film. Getting to be around them and being around the world a little bit has been the main experience so far. I did my audition on the Millennium Falcon for one of my screen tests, which was pretty cool.

I had four years of auditions, and nothing happened, until Francis Ford Coppola took a shot on me ['Tetro' in 2009]. I hadn't done a film, and suddenly I was the lead.

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.

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

I honesty feel that each film has its own particular challenges.

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.

I'm glad to be an actor to be employed by people who are now 12, probably. I look forward to that.

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

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.

I'm trying to make myself sound better.

I remember calling and asking, because I had a few lines that were like, "How could the character have done this?" and I hadn't read the part of the script that said what she [ Cate Blanchett] did, so they put me on the phone with Woody... Allen. I don't know if I could really say "Woody.

I remember pretending to be the characters in the movies when I was a little kid.

I remember Tetro was a big deal to me at that time. It was going from zero to one: Never having been in a movie, a person who had no relationship to any of that, and that was my first movie.

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.

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

I think that having had [Steven Spielberg's] confidence in me probably made me a little more immune to feeling as bad about myself in the face of rejection. I also was just so young - I was unaware enough to not take it too seriously.

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.

It's a little bit about how I felt about Hail, Caesar! and now Star Wars. I could not have predicted those things happening to me. But I'm just happy they come along.

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.

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.

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'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.

I've had a couple opportunities where I've been on the other side of the audition process as a director.

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

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.

My parents weren't involved in show business but my parents would show me. We'd watch old films in the house.

One of the big takeaways from that experience [in Blue Jasmin] was just what a thrill it was to act with somebody like Cate Blanchett operating on that caliber. Because what she was doing was very powerful. T

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.

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.

Some movies, I think, present ideas of the world that just don't help people with their lives. They just present things that are fleeting or stupid. So that's what I'm careful about - making sure I'm part of something that is saying something that I think is valuable in the world of people, not necessarily in the world of art.