Who is eric stoltz dating
There’s that great documentary on Coppola, about the making of Apocalypse Now, called Hearts of Darkness, where he says â€˜The next Mozart is going to be a fourteen, fifteen year-old girl in Ohio’. There’s something behind it that’s not very prefab…that’s not very slick. I knew Quentin from the Sundance Festival – we were both there in â€˜92 or â€˜93. My wife loved “Chicago Hope” – but she didn’t catch it first time around, she only started watching it in repeats, which were on like two years back. I told her I was getting up to meet you this morning, and she was – in half-asleep voice – â€˜Bobby’? I think the longest thing I’d ever done was a play that ran for nine months – and I started losing my mind. I loved the way he also put everyone down, in addition to firing them, in that episode. The show only lasted another twelve months after that. It worked for “The Practice” obviously, which is now “Boston Legal”. How did you feel about doing “Chicago Hope” after doing film for so long? I only signed on for one year, so I didn’t feel that it was going to be the rest of my life. I love the cast and the crew – I’m still friends with most of them. Knowing that you’ve got all that time with TV, you’re really able to invest a lot of detail in it, which is a lot of fun. I didn’t think I had the strength to do the character for any more than a year. Near three weeks into filming the Robert Zemeckis directed “Back to the Future”, the studio’s original choice for the lead role, TV star Michael J. Stoltz, who had been bought onto the picture when Fox couldn’t escape his TV commitments to do the film, was out on his arse. I started to realise that I enjoyed being with the crew, and seeing the behind the scenes stuff, and how the creation of the film is done more than I did sitting in my trailer being served cappuccino by attractive production assistants. I was always fascinated with the creativity and hierarchy of power on a film set – it’s like a mini society. I certainly have a soft spot for Say Anything, because not only was it his first, but also I got to work on it as a P. They’re much more difficult films, but I feel they’re much more personal and interesting. I should’ve prefaced this entire interview by saying I’m notorious and actually very well liked for the fact that I have an awful memory. It was an entirely different script [from the film you know] – it was almost a silent film, because Martha had this interesting idea of trying to make it as much of a non-verbal, non-jokey teen film as possible. We had shot two or three weeks with my hair below-my-shoulders and I was very greasy and odd looking – because the guy was someone who wasn’t able to fit in, we thought that was a great way to go. Someone at Paramount came down and said â€˜We’re going to cut your hair, and clean up your act’. I would’ve thought they might have put it on the DVDs or something No. That scene with the dog still gets me That was a tough scene.
The last two films you’ve been in were “The Triangle” and “The Honeymooners”, can you tell me about those?
I’m about to direct an episode of Boston Legal in November. I’ve been sent fantastic scripts that have turned out to be bloody awful. Maybe when I’m an old man that would be an enjoyable thing. Because I dream about it, and sort of breathe it…it’s like falling in love, that feeling of emersion and challenge.
So I’m sorta finding my legs – and of course, I have a few films that I’m trying to get off the ground. I sort of stumbled into it really – I was more into music. And then, I’ve been sent scripts that I’d think â€˜what the hell is this? There’s so many variables involved when you make a film.
So I thought, I might as well try that – it looks like fun.
I started doing plays, and by the time I went to college I had done 42 plays. – Though he lost out with that “We’re no Angels”, didn’t he?