Alden Ehrenreich Quotes

I really want to be a part of those movies that say something good to a lot of people.

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.

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.

Woody Allen is kind of the one example I don't have. Because the way he works and the amount of shooting time that I did on that film, I didn't really get to know him, so he kind of stays as "Woody Allen" to me.

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.

Their way of working [the Coen brothers] is always kept pretty mysterious. I was so curious to see how they make these movies. It was just such a joy - they seem to have so much fun making their movies.

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.

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

[Warren Beatty] is voraciously detail-oriented.

[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.

[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.

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

[Warren Beatty] definitely sees 'Rules' as a comedic consequence to the American sexual puritanism that is dramatically presented in 'Splendor.'

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.

You need those people to also have power and authority, and in a way that has been the story of my career.

You do need these people to go out on a limb for you, thinking you're right for a role rather than having box office numbers.

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.

With 'Hail, Caesar!' it was about all the skill sets I had to learn, but each movie requires a different way of working. You're a piece in a new world, and there is always a difficult part within that world. For me, it's not consistent from movie-to-movie, each film has a central challenge.

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

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.

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

When I was 14 years old, I was by no means trying to work professionally at all.

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.

[Woody Allen] does very few takes, and he doesn't give a whole ton of directions, although he does give direction.

The movie [Blue Jasmin] shot very quick. I met Cate Blanchett in the car on the way to set, and we did that last scene, and she was just so phenomenal. I had basically met her that day. Because the way he shoots, everybody just shows up and does their thing, and he moves us very quickly.

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

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

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.

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."

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 really feel lucky that I still feel excited about the actual work that I get to do. I just happen to love it, and I could easily see, for somebody else, that not being the case.

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."

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

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

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 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.

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

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.

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

An era that I specifically like is sort of late 50's, early 60's. I guess mid 50's too. I like these types of films that deal with post WWII America and this more complex leading man that kind of emerges from that.

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.

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.

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 honesty feel that each film has its own particular challenges.

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

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.

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.

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.

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?