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I once sang 'Summer Nights,' from 'Grease,' at a bar in Melbourne with John Travolta, who's a good friend of mine. He looked cool singing the part of Danny - sitting in an armchair, smoking a cigar - while I got stuck playing Sandy.
My father is a jazz musician, so I grew up hearing jazz. My parents loved it, but I didn't like it. It went on for too long. Yes, I had certain teachers that really inspired me, like Danny Barker, and John Longo. And I had no idea that I would have any impact on jazz.
I wasn't like other boys. At any rate, I wasn't like my three elder brothers: they excelled at football and they were like other boys, going up to bed each night hugging annuals filled with stories about the glories of Pele and Danny McGrain.
I am happy to have now as Danny finally a more difficult role, in which I can shoot and fight.
Danny DeVito later told me that he knew he wanted me for 'Matilda' the second I walked in the door. I'm not sure if this is true, or if he was just being nice, but I was thrilled when I got it.
You can't predict the number of years it will take for someone to find themselves, to mature into their own voice. When I got to be 30, I was finally writing like Danny Brown.
I think that I altered history in 'Elizabeth,' and I interpreted history far more than Danny Boyle or Richard Attenborough did to 'Slumdog Millionaire' or 'Gandhi.' They took Indian novels or Indian characters and very much stayed within the Indian diaspora.
In 1994, nobody could have predicted 'Shawshank' would one day be an iconic movie - and believe me, that would never have happened if Danny Glover had been Red instead of Morgan Freeman.
I wrote Murder at the Windmill. And it was accepted and we made it and it was the first film I made with Danny Angel, well the only film I actually made... I made a lot of it at the Windmill itself.
Working with Danny Thomas was truly an adventure every week. Danny didn't always say the words as they appeared in the script. I learned more by osmosis than by sitting down together. He was a force to be reckoned with: an explorer of television.
I think in my case, I had no choice but to have a good sense of humor. I grew up with my dad, Danny Thomas, and George Burns and Bob Hope and Milton Berle and Sid Caesar and all those guys were at our house all the time and telling jokes and making each other laugh.
I don't even know how many times I auditioned for Danny Zuko in 'Grease.'
I'd work with Danny Boyle every day of the week. No matter what he was doing I would do that.
Well, in The Chosen, Danny Saunders, from the heart of his religious reading of the world, encounters an element in the very heart of the secular readings of the world - Freudian psychoanalytic theory.
The question is - did Richard Attenborough have a right to make 'Gandhi?' And did Danny Boyle have a right to make 'Slumdog Millionaire?' Quite honestly, if they didn't have the right to make these films, I had no right to make 'Elizabeth.'
'High Concept' means a book or a film whose core idea can be stated in a single sentence, such as 'Arnold Schwarzenegger and Danny DeVito are twins.' Or, 'Arnold is pregnant.'
Martin Cruz Smith
Well, I am not really a conventional mom at all. Like, I had my kids really young. I had Danny when I was 18 or 19 and then Liam when I was 23 and Molly, I had when I was a little older.
Mel Gibson was lovely. He was on the edge of both scenes that I had with Danny Glover.
Alan Cumming was such a fun guy to watch. I remember he has a song in the first 'Spy Kids' movie, and when Danny Elfman came to set, they were working on the song.
I have three brothers and a sister. One older and three younger. My oldest brother Danny plays Hyde on 'That '70s Show,' and my younger brother Jordan and my sister Allanah act as well, so we're a bit of an acting family.
I love zombie films like Danny Boyle's '28 Days Later' - I thought it was so brilliantly done and so grounded in reality. I was definitely thrust into the zombie world watching that film.
I hate Danny Kaye movies.
Above all, Danny Boyle's 'Slumdog Millionaire' is the work of an artist at the peak of his powers. India is his palette, and Mumbai - that teeming 'maximum city', with 19 million strivers on the make, jostling, scheming, struggling and killing for success - is his brush.
For the first six months of my stand-up career, I was talking like Danny Dyer. I was doing a lot of 'alright guvnors?' It wasn't true to who I was.
Wherever Mantle went in the great metropolis - Danny's Hideaway, the Latin Quarter, the '21' Club, the Stork Club, El Morocco, Toots Shor's - his preferred drink was waiting when he walked through the door. Reporters waited at his locker for monosyllabic bons mots. Boys clustered by the players' gate, hoping to touch him.
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