Quotes of All Topics . Occasions . Authors
My mom was married to a Mexican guy - a surfer - and so we'd kind of camp out on the beach the swell season.
I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera.
I have a really good relationship with Focus Features; we had a wonderful time working together on 'Sin Nombre.'
I want to be happy while I make movies and not just do things just to work. I want to do things I spend years on.
Collaboration sometimes causes conflict, and sometimes it's easy, but the bringing together of great minds only adds.
Have you seen McConaughey in 'Unsolved Mysteries?' Even back then, it's a great performance! And he's mowing the lawn.
I don't think I'd ever write anything that I don't also direct just because it's so hard and painful to write as it is.
I'm never more miserable than when I write, and never more happy than having finished and having it sitting in front of me.
I have these plants in my house that are dying, so having a robot butler to water them when I'm away would be pretty handy.
It's a treat and daunting to be directing someone like Judi Dench, who's made more films than I'll ever make in my lifetime.
Your movie should lull people into a place of openness and vulnerability. If it is just a diatribe, it's never going to work.
I think I have this field around me that makes electronics work bad. It's not like an entropy thing; it happens very quickly.
Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, "Oh, that's me."
Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, 'Oh, that's me.'
I wanted to make my sophomore film as different as possible. I didn't want to be pigeonholed. I didn't want to be identifiable.
If you really want to tell someone you love them, you don't just go and blurt it out. There's a dance. And your movie does that.
Tom Hooper had done 'John Adams,' and David Lynch did 'Twin Peaks.' I figured I could do eight hours of television, and I wanted to.
I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema.
'City of God' and 'Slumdog Millionaire' are both films that I really like, but they are stylistically the opposite of what I wanted to do.
It takes the wool from your eyes about how the world works, to show you that nothing's necessarily fair, and that you might have a hard life.
Collaborations aren't easy, but you definitely get something highly different than had you done it on your own. That's part of the experience.
In TV, you have no time and sort of just carpet bomb the scene with as many angles as possible as quickly as possible and find it in the edit.
The theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story based on who's embodying it.
The theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story, based on who's embodying it.
I was imagining films in my head and trying to gather friends together to make movies since I was a kid. I tried to do comedy skits and a horror film.
It's an important part of being a member of society to know what's happening in the world and to know where you fall in it and what you can do about it.
Going from having an Atari to a laptop changed everything. It allows me to work anywhere I want and send my work home - I can work anywhere in the world.
In snowboarding, you're constantly aware that people are so technically brilliant at what they do, and you feel like, "Ugh, I'll never be able to do that."
I wrote my first script, which was 50 pages, at age 15. It was about two brothers in love with the same nurse while they're convalescing in a Civil War hospital.
If you're directing, it doesn't really matter any more if it's going straight to TV - what matters is whether you have the resources to make a story that moves you.
It's hard because there's a part of me that wants 'True Detective' to win every award we're nominated for. But I'm a huge fan of 'Breaking Bad' and 'Game of Thrones.'
Some directors don't get involved in the cinematography and are just about story, but I'm definitely more tactile than that in terms of my involvement in the minutiae.
On 'Sin Nombre,' Adriano Goldman and I improvised a lot of things on-site. We were working with untrained actors, and you can't really block a scene in a traditional way.
My manager sent me the first two scripts for 'True Detective,' and I just thought they were so interesting and that the world they were depicting was so titillating to me.
My dad is from Japanese descent, my mom is from Swedish descent and, through marriages and divorces, a pretty multicultural family - a lot of Spanish speakers in the family.
I don't storyboard, and I don't really shot list. I let the shots be determined by how the actors and I figure out the blocking in a scene, and then from there, we cover it.
Literally, I don't have a television. So I don't really know what's happening pop-culturally. I read the 'New York Times.' And there's one worldwide cabin blog that I look at.
There's nothing better than finishing something and looking at it. Whether it be a script or a movie, it's this complete little thing that now exists and is hopefully immortal.
I'm better suited to be a director, I think. I see myself as the general author. I hate the word 'auteur,' because it sounds so solitary when filmmaking is anything but solitary.
The anticipation-speculation that comes with a weekly schedule is a double-edged sword. Because people have more time to talk about things, some crazy ideas get a lot of attention.
Everyone wants to be liked, so of course you want critical acclaim. After that, box office acclaim isn't bad. More than anything I think you have to try and make something you're proud of.
I think any character has to be well-rounded, whether they are male or female - they have to be complex and make choices that maybe we don't agree with, you know? I guess that's what makes them human.
No, ramen's not good for you. But in Japan, our favorite thing to do after drinking all night, especially in Sapporo where it's freezing cold, is to go to the ramen place at two, three in the morning.
In a city like New York, especially for young professionals who aren't in a family situation, most people don't cook for themselves. This is the only city I've ever lived in where I eat out every night.
My grandma was really sick when I was working on 'Sin Nombre' and eventually died that summer when we were finishing the film. But I was able to bring an unfinished version of the film for her to watch.
The authenticity aspect is pretty important to me. When we have to compromise and do something that's not authentic, it really rubs me, every time I have to see it in the edit, which is millions of times.
When I was 20, I was living in the Alps, snowboarding and studying political science. I blew out my knee, and I began to realize my days in the sport were numbered; the reality was I would never be a pro.
Living in New York, I get excited by the idea of working in a different medium. And it's pretty frightening because whatever skills it takes to make a good piece of theater seem mysterious to me right now.
One of my problems with a lot of things I watch is that everybody's too pretty, and it takes me out of the film because I'm thinking that all these people look like I've seen them in a cafe in Los Angeles.
All I kept thinking about was, "Man, he's so relaxed onstage! I'm never going to be that relaxed! I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera."