“It’s the worst film I have ever made. Now, when my kids get out of line, they’re sent to their room and forced to watch [film] 10 times. I never have too much trouble with them.'
“That’s a piece-of-sh*t movie. It’s an unbelievably bad movie; just bad from the bottom. There’s a scene where I’m running away from this alien, and I actually hide under the stairs. I come down some stairs and then duck up underneath them, and I’m quivering and this big thing comes down the stairs, and I’m freaking hiding under the stairs. This is something that can open walls of steel, and I’m hiding under stairs! It was maybe the only time I’ve known something was just bad and there was nothing I could do about it.”
“I learned a lot from doing [film]. It was a big mistake. I was an overzealous young actor and wanted to make great movies. I think [the director's and my] personalities just didn’t jibe. Kevin had the idea that my character would be more jovial, and I thought he was tragic. He was like, ‘[Actor], I need you to smile in this scene.’ And I said, ‘No. My character has no reason to be happy. He said, ‘[Actor], you can’t keep playing James Dean,’ and I replied, ‘Kevin, you can’t keep making Robin Hood.’'
“It was so awful and sentimental and gooey. I had to work terribly hard to try to infuse some miniscule bit of humor into it.”
“I just didn’t enjoy it. I thought we missed the mark. I got confused. I couldn’t see what the f*** was going on, you know, with certain robots ... I couldn’t decipher what was happening. There were storyline paths that I just wouldn’t have gone down.”
“I didn’t like the film at all. I spoke to United Artists at the time and offered to make a film for them for nothing if they would not put it out.”
“That was a bad, bad, bad movie, But even though the movie might suck, I got to work with John Frankenheimer. I wasn't lying to myself—that's why I did it. I mean, he directed The Manchurian Candidate, which is like the movie of all movies. F*** regret. Just f*** it.”
“Finally, I went out to L.A. to record my lines. And usually when you're looping a movie, if it takes two days, that's a lot. I don't know if I should even tell this story, because it's kind of mean. What the hell? It's interesting. So I worked all day and kept going, ‘That's the line? Well, I can't say that.’ And you sit there and go, ‘What can I say that will make this funny? And make it make sense?’ And I worked. I was exhausted, soaked with sweat, and the lines got worse and worse. And I said, ‘OK, you better show me the whole rest of the movie, so we can see what we're dealing with.’ So I sat down and watched the whole thing, and I kept saying, ‘Who the hell cut this thing? Who did this? What the f*** was Coen thinking?’ And then they explained it to me: it wasn't written by THAT Joel Coen.'
“F*** it. It is what it is. F***ing trees, man. The plants. F*** it. You can’t blame me for not wanting to try to play a science teacher. At least I wasn’t playing a cop or a crook.”
“I did [film] a month b4 Sandy Hook and now in all good conscience I cannot support that level of violence. I am not ashamed of it but recent events have caused a change in my heart.”
“New rubbish dialogue reaches me every other day on wadges of pink paper—and none of it makes my character clear or even bearable... I must off to studio and work with a dwarf (very sweet—and he has to wash in a bidet) and your fellow countrymen Mark Hamill and Tennyson (that can't be right) Ford. Ellison (?—No!)—well, a rangy, languid young man who is probably intelligent and amusing. But Oh, God, God, they make me feel ninety—and treat me as if I was 106.—Oh, Harrison Ford—ever heard of him?”
“With hindsight it’s easy to look back at this and go, whoa, that was really sh*t, and I was really bad in it. The truth is, my phone rang, and the head of Warner Brothers said, ‘Come into my office. You are going to play [character] in a [film],’ and I said, ‘Yeah!’ I called my friends, and they screamed, and I screamed, and we couldn’t believe it! I just thought the last one had been successful, so I thought I was just going to be in a big successful franchise movie. In a weird way I was. [Film] is still the biggest break I ever had, and it completely changed my career, even if it was weak and I was weak in it. It was a difficult film to be good in. I don’t know what I could have done differently.”
“Every single scene, I'm like, really? Really? You did it like that? Oh, my God. Even my American accent, I can't listen to it. It's awful. Hopefully it's so much better now. It sounds terribly self-indulgent, but actors do tend to be very self-critical. I have a hard time watching any of my performances, but watching [film] I was just like, oh, God, I want to do that again.”
“It paints the women as shrews, as humorless and uptight, and it paints the men as lovable, goofy, fun-loving guys. It exaggerated the characters, and I had a hard time with it, on some days. I'm playing such a b*tch; why is she being such a killjoy? Why is this how you're portraying women? Ninety-eight percent of the time it was an amazing experience, but it was hard for me to love the movie.”
“People ask me about that movie but I’ve forgotten it. That was a silly romantic comedy.”
“It was the most irresponsible bit of filmmaking—if you can even call it that—that I've ever seen. I couldn't believe it. I don't know why anyone would want to continue making that movie. We had nothing. The movie was the complete victim of this drowning studio head [Mark Canton] who said, ‘I don’t care. We're making it. I don’t care what you have. Shoot something.’”
“It’s horrible, It’s going to be a flop, but after this I’m retiring. I’m so fed up. This picture, except for the Canadian crew, was an extremely unpleasant experience. I wish I hadn’t finished with a stinker.”