Quotes of All Topics . Occasions . Authors
I don't think it's the job of filmmakers to give anybody answers. I do think, though, that a good film makes you ask questions of yourself as you leave the theatre.
I was trying to talk about where we are right now as a society, and talk about the fear we all live in, and certainly since 9-11, how it's affected us and the world.
A lot of films made me love the movies, everything from Hitchcock to Godard. But the ones that really grabbed me were Costa-Gavras's films like 'Z' and 'State of Siege.'
I don't know how much credit I can take for 'Walker, Texas Ranger,' because I only worked on it for three weeks. I re-wrote the pilot, and then my name was on it forever.
I just love actors, and I've always loved actors. I empathize with their job. Everyone thinks it's easy, and it ain't. To be that vulnerable and brave on camera is tough.
When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?
You hear this story that we're all on the left, but when there's a demonstration, you count how many actors actually come out. If there's a half dozen, that would be a big day.
I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
I just asked myself, what piece of that man's soul did he just chew off and swallow to get next week's assignment? You know, just to live, just to work as an artist, or to feed the family?
Right after we invaded Iraq, I put a sign on my lawn that said "War is not the answer." That sign was either defaced, ripped up, or stolen every week. I had to replace that sign twelve times.
The wrong one will start saying things like "withdraw with honor." We've heard phrases like that before, and they led to thousands and thousands of deaths. Democrats always want to look tough.
I'm a filmmaker, and I was most influenced by Hitchcock's films. How he could plant such deep enriched characters and then make us care both about the antagonist and protagonist was masterful.
I just always try to find an interesting story and tell it well. That's a hard enough thing to do, whether it's a piece of fiction or it's a small piece of reality. I just look for good story.
If you're in a relationship and you try to trust somebody who's completely untrustworthy, when trust is the basis of any relationship and everyone else says not to trust, is love transformative.
It takes me awhile to find something that I'm passionate about. I'm reading a lot and thinking a lot, and torturing myself a lot because I'm feeling really guilty for not writing something today.
There's something that's so basically corrupt about any system in which a good and fair profit is not enough. There has to be more, every year, every quarter, because your stock price has to rise.
If you believe in someone enough, and you just don't stop believing in them, mo matter what, no matter how much they push you away, and no matter how often they prove they're only there to use you.
I optioned the magazine article. That was end of 2003. It was a time when the war was incredibly popular here and everyone was driving around with flags on their car, if you remember not too long ago.
I just want to thank people who take big risks in their daily lives when there aren't cameras rolling. I want to dedicate this award to people who stand up for peace and against injustice and intolerance.
I am really drawn to damaged characters, and I have a lot of sympathy for them. Making those complicated characters empathetic is something to strive for. It's too easy to create a good guy or a good girl.
Film is an emotional medium; it's not a logical medium. It's not an intellectual medium, so every decision you make as a filmmaker and an actor has to be emotional in some way, even in the rejection of logic.
You'd be surprised how many writers, or how many actors, if they miss a paycheck or two, they've got nothing. As a writer or an actor you can have four or five jobs in one year and then have none for two years.
Walk through Santa Monica and try to find somebody who knows a young man or woman who's in this war. Here, war is an intellectual concept. If you lose your son or daughter, it's no longer an intellectual matter.
If there's magic in boxing, it's the magic of fighting battles beyond endurance, beyond cracked ribs, ruptured kidneys and detached retinas. It's the magic of risking everything for a dream that nobody sees but you.
The hope is what America represents to the world and has always represented - the hope for a better life and a better world. We have a duty to protect and support that hope with not just our words, but with our deeds.
I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
I like taking genres and subverting them. I did that with In the Valley of Elah. I said, "Okay, this is just a murder mystery. Relax." And then, two thirds of the way through, I broke every convention of a murder mystery.
I like taking genres and subverting them. I did that with 'In the Valley of Elah.' I said, 'Okay, this is just a murder mystery. Relax.' And then, two thirds of the way through, I broke every convention of a murder mystery.
I don't think I'm against all wars, but you'd have to have a damn good reason to send your son or daughter to fight, or to go yourself. So often, we are lied to and manipulated by our governments for their own very cynical reasons.
I made a very good living as a bad writer. I wrote a lot of comedies, 'Diff'rent Strokes,' 'Facts of Life,' while all my friends were doing the good shows, like 'Cheers,' but I loved it because I got to be a working writer in Hollywood.
I have so many questions about love. How do you win at it? Especially if you're in a relationship with an impossible person? What if you believe in someone who's completely untrustworthy, who at their core can't even believe in themselves?
I really wanted to make a nonpolitical political film. I wanted something that folks in red states and blue states could look at and not ask if this is the right thing to do to be in this war, but what this war is doing to the fabric of our society.
The worst thing you can do to a filmmaker is to walk out of his film and go, 'That was a nice movie.' But if you can cause people to walk out and then argue about the film on the sidewalk... I think we're all seeking dissension, and we love to affect an audience.
I have never pretended to be the best Scientologist, but I openly and vigorously defended the church whenever it was criticized, as I railed against the kind of intolerance that I believed was directed against it. I had my disagreements, but I dealt with them internally.
I just love actors, and I've always loved actors. I empathize with their job. Everyone thinks it's easy, and it ain't. To be that vulnerable and brave on camera is tough. The more they reveal themselves, the more we love them, but there's a lot of truth in what they're showing.
For me, the most interesting people are ones who often work against their best interests. Bad choices. They go in directions where you go, 'No no no nooo!' You push away someone who is trying to love you, you hurt someone who's trying to get your trust, or you love someone you shouldn't.
The radical rightwing pegs Hollywood as a leftist town, which is completely wrong. There are a lot of actors, writers, and directors who talk a liberal agenda... but all the studio bosses, for as long as there have been studios, have all been as far rightwing as you can possibly imagine.
I moved to Hollywood when I was 22. I was married. I had a kid right away. And I had worked as a furniture mover amongst various other jobs, and I'd work eight, ten hours a day to support my family - and I'd come home and write for two hours a night or two and a half, or three hours a night.
In 'The Next Three Days,' even though it was a prison breakout movie, I was asking myself, 'What would I do? How far would I go for the woman I loved? How far would I go, and what would I do when the person then told me that they were guilty? Could I still believe in them?' So it was very personal.
'Crash' was incredibly personal to me. So was 'In the Valley of Elah.' There were things in 'The Next Three Days' that were questions I was asking myself but couldn't answer, like how far would you go for love? Can you believe in somebody who can't even believe in themselves? But this is highly personal.
I was fired from my own television show, CBS's Family Law. It was the second time this had happened in my career, the first being when I was fired from The Facts of Life. I had been grateful to work in TV for so long but had always been chasing a career as a feature writer-director and had completely failed.
All my work is partly biographical. I mean, 'Crash' was absolutely that, absolutely. But you just wouldn't recognize me in most of those characters. But I was in every single one of those characters in 'Crash,' because those were all fears that I had felt. Things that I had thought in my deepest, darkest heart.
Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.
Now we really like to put people in boxes. As men, we do it because we don't understand characters that aren't ourselves and we aren't willing to put ourselves in the skin of those characters and women, I think, terrify us. We tend not to write women as human beings. It's cartoons we're making now. And that's a shame.
'Crash' came from personal experience. I saw things inside me from living in L.A. that made me uncomfortable. I saw horrible things in people and saw terrible things in myself. I saw a black director completely humiliated, but the three people around me just thought it was funny. 'No,' I said, 'that is selling your soul.'
You can't plan for people to like your movies. I knew that people were not going to run in droves to the theater for the 'In the Valley of Elah.' I knew they might not want to see it, but I still had to the movie; I felt very strongly about it. Wanting to keep telling a good story is what you want to do, a compelling story.
We are manipulated by fear and the fear of others, and how we're often manipulated into doing things and voting in ways that are against our own best interest. Look at healthcare. People will tell you that healthcare is socialism and communism, and they're doing this while their wife needs an operation and their kid needs braces.
I wrote an episode for 'thirtysomething,' and a producer said, 'That's really good, but what is it about? What does it say about you? What questions are you asking yourself?' I had never thought about that. This comment changed who I was, because it made me look at my own soul, the dark corners in my soul, and accept that dark side.
All the studios are owned by multinational corporations, which are not usually bastions of the left. So all the actors, writers, and directors - or at least a great majority of them - live in fear because we're all insecure, we all want that next job, we all want to be loved, and we don't want to piss off some studio chief who won't hire us for the next movie.
If you make a film and then two and a half, three years later, suddenly the country's changed and you look like you just happened to hit it. I actually like being contrarian. I would have preferred to come out three years ago when everyone was disagreeing with me. But hopefully it asks a lot of questions about our responsibility in sending young men and women to war, especially a war that's so complex, where there's no right answer, where they're forced with impossible decisions every day.