Quotes of All Topics . Occasions . Authors
The strengths and failings of a relationship depend entirely on your ability to talk about your feelings.
I like hiring people based on a feeling - this person gets it - rather than what they've done in the past.
If you focus your energy on the camera, it takes away from the time you have to focus on the performances.
The world is becoming nicer and easier, but that doesn't mean we are any less lonely or any more connected.
I think because I'm not a parent, my most immediate connection to childhood is my memory of my own childhood.
I love people that willfully defy what you're supposed to be and create their own definition of their selves.
I feel like you only have so much time to make stuff. I'm definitely aware of that. I'm also excited about it.
After 'Where The Wild Things Are,' which was this big, long five-year project, I spent a year making small things.
I don't want to make a movie till I have an idea I have to make. I don't want to make a movie just to make a movie.
You can go on Nike's website and choose exactly what fabrics and colours and shapes you want your sneakers to come in.
I feel like every movie, I've learned more and more about what I think of the world and what I'm trying to figure out.
I think the thing that is meaningful is when I can tell that someone's been affected by the movie or by anything I made.
I definitely check my phone for texts a lot - like, 'Did anyone text me? Is anyone thinking about me? Does anyone love me?'
Johnny Knoxville went from struggling to pay his rent to being on the cover of 'Rolling Stone' in the course of, like, a month.
Is an audience open to seeing a film that isn't what they expect when they see a film that's been adapted from a children's book?
A lot of times, you have an idea, and all the things you are thinking about might fuel it. But that's not where the idea came from.
I don't know what life was like 1,000 years ago, but I imagine there was the same struggle: people trying to connect with each other.
I always aspire to that, where it feels like the film was made by the characters as opposed to the filmmakers. I try to be invisible.
I think the way kids create is so inspiring. They're drawing a picture? They love the picture they drew; they're not tortured about it.
Music is thousands and thousands of years old and I don't think that basic, primitive connection to the language of music ever changes.
If I heard somebody else say, 'I worked on a movie for five years', I'd be like, 'What? How could it take that long? What were you doing?'
When I'm making stuff, the thing that excites me most is not the result, but the process and trying to do something I've never done before.
What I learned from the Beastie Boys was to be independent. They set up their own world separate from the label. They built their own studio.
Even in this world where you’re getting everything you need and having this nice life, there’s still loneliness and longing and disconnection.
If I can make one generalised statement, and generalised statements are never entirely true, nobody wants to be talked down to, kids included.
I want to make films without a single clear message, and films that are as close as possible to what it feels like to be alive. At least to me.
I'm fortunately not, like, typecast. I don't have to just do one kind of thing; I can do all kinds of things that reflect different parts of me.
Nicolas Cage, I would love to work with him again. He's just a fearless madman. He'll go anywhere you want to go. He would not say 'no' to anything.
I guess a lot of things I make are relationship movies. Maybe all movies are relationship movies, because they're all about how we relate to each other.
I think the way Win Butler writes, I really identify with it. He writes very emotionally and very cinematically, and I just connect with his sensibility.
I remember when MySpace came out. It did do something pretty incredible - which was unite people around the world with common interests and common tastes.
I've done the thing where I stop being communicative, and I've been on the other side where the other person isn't communicating, and I become frustrated.
The things that are really out of control, and scary, are emotions - of people around you, that are unpredictable, or those in yourself which are unpredictable.
I definitely liked the Muppets. I definitely liked Yoda in 'Empire Strikes Back' and Chewbacca. I don't know if I was a fan of puppets or those, like, specific characters.
As creatives, it's a hard thing to push, to make something you're truly excited about, especially if you've written 100 different concepts and they keep getting shot down.
There were times in 'Adaptation' during the editing where I really thought, 'Okay, well, this was a noble failure. I tried to do something good, but this is not going to work.'
It's fun when you start a movie, because it's kind of like you get to go Christmas shopping... you get to make your wish list and you start thinking about what each character needs.
There was definitely a point in my thirties when I thought, 'Oh, wow, I'm not the youngest person on the set anymore.' But I like it. Working with younger artists is totally exciting.
Obviously, movies and music videos are different because they're different lengths, and in a movie, you have more time to explore an idea. But I feel like they're all the same, really.
The thing I remember most about having a tantrum is not the rage during the tantrum, but the being freaked out afterwards, and embarrassed, and guilty. It's scary to lose control of yourself.
I love when me and my friends don't know how to make something - there's that risk of failure, which should be there. If it's guaranteed not to fail, it's something you already know how to do.
On everything I do I'm always taking someone's money, whether it's a movie studio or a record label. Somebody's paying for it, and I'm always respectful of that. But I'm never going to compromise.
I think if something's emotionally real - and I'm not even talking about in movies or in art, but in life - you can't really argue with that, even if your intellectual mind might know differently.
As a parent, your perspective of childhood is through the eyes of this person that you care so much about and you just want the world to be great for them. You want their life to be easy and happy.
I'm in awe of directors like the Coen brothers who can shoot their script and edit it, and that's the movie. They're not discovering the movie in postproduction. They're editing the script they shot.
I like people that define their own values. I am much more interested in somebody who has their own definition of what they value, their own definition of what success is, their own definition of what love is.
I think, as you're growing up, your emotions are just as deep as they are when you're an adult. You're ability to feel lonely, longing, confused or angry are just as deep. We don't feel things more as we get older.
I knew I could write infinitely about relationships. That's the most beautiful, most confusing, most rewarding, most heartbreaking thing in our lives - and not just romantic relationships: that's all relationships.
I think there is something about... unless you come from a really evolved family that allowed you to talk about your feelings and felt like a safe environment, then you aren't really prepared to do that when you grow up.
I skated and rode bikes on ramps, and my mom was always super supportive. She was one of the only divorced moms in the neighborhood, so all the other parents looked down upon her for letting her kids do that kind of thing.