Quotes of All Topics . Occasions . Authors
I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.
I have a friend whose theory is that you're from wherever you went to high school. I think that's mostly true.
There's definitely a way of thinking and a way of being in the South that has its advantages and disadvantages.
I find myself in situations a lot where I have to say to someone, "This can be better," and it's hard to say that.
You're being mean to someone who's helping you. What is that? Everyone knows who the assholes are, and I avoid them.
"A meteor hits planet Earth" - that's a story idea but that doesn't give me any indication of what the character is.
Anytime you've got something that can take you into the political realm then you've opened up the conversation a lot.
Jude [Law] is really good at playing an obsessive. He has a very watchable quality when he's on a quest for something.
Reality shows are all the rage on TV at the moment, but thats not reality, its just another aesthetic form of fiction.
I'm still very affected and moved by their music - maybe in a way that's different from someone who grew up around it.
Never done an explosion, but I have had explosive diarrhea, and that was very, very real. Good thing I have my trailer.
Reality shows are all the rage on TV at the moment, but that's not reality, it's just another aesthetic form of fiction.
Truth and facts have to trump partisanship. There has to be something that's true regardless of what your angle is on it.
I'm always a little unnerved when I see a show that's set in the past that implies in any way that things were nicer then.
The reverberation of the freedom of making 'Schizopolis' absolutely resulted in 'Out of Sight' and everything that followed.
We [people] are a species that's wired to tell stories. We need stories. It's how we make sense of things. It's how we learn.
If you're a painter and you want people to know who you are and recognize your work, you've got to build some long-term value.
I'm a big believer in volume. If I made three times as many movies as Stanley Kubrick, that must mean I'm three times as good.
But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.
I think I'm good at amplifying an actor's strengths, and minimizing their weaknesses. And they all have strengths and weaknesses.
That's why my attitude, even on my larger-scale movies, is to make them cheap. The less these things cost, the better for everybody.
I make every movie like it's the last one. "If this was the last movie, what decision would I make?" That's how I make my decisions.
People are sort of numb to watching violence, but sexual activity is still as strong as it ever was in terms of generating response.
I always have a plan, but then I'm always ready to throw the plan out, and everyone's ready to make a radical left turn if necessary.
A real explosion is not only much more fun to shoot, it also helps the actors and creates an energy on set and ultimately in the scene.
You should never assume anything coming from a critical standpoint. You should go into everything assuming you're going to get crushed.
My father, who was the one who really got me hooked on movies, liked all kinds of films, and I saw all kinds of films at a very young age.
I think there are only two times that I've ever ended up paying somebody their quote. Like what they actually were worth in the marketplace.
Usually I'm thinking about the palette. I'm thinking about the color for the most part, then I'll start thinking about composition and movement.
In nature, if a cell gets too big, it divides. You can't come up with a set of rules that's going to work for 350 million people. You're just not.
The art model of problem solving is incredibly efficient because ideology has no place there.There's only the thing and what the thing needs to be.
It's a weird thing to say, but it would appear to me axiomatic that if you understood fully what I was doing and appreciated it, you would like it.
All human interaction, you can break it down to incentives. All relationships, at some level, are transactional. They're fascinated with incentives.
It would be nice if all people who saw movies had some sort of basic understanding of what they're looking at, but I don't think you can assume that.
We all get outraged by things and there are things that make us angry and maybe for a while we get angry enough to actually go do something about it.
The ought to be a worldwide cultural taskforce that just stops you when you have ideas like combining The Red Desert with an armored car heist movie.
The brief flashbacks are sun-kissed, summery and optimistic. It's the only place in the movie you will see red, yellow, orange, or any vibrant colors.
A lot of people go to the movies wanting the movie to be about feelings, and it's really not about that. Or rather it's about feelings in the abstract.
A success, to me, is the ability to keep working. That's success. It has nothing to do with money; it's the ability to keep getting things made, period.
You can't change who you are, so I think that the only thing you can do is just never talk to people about stuff and then hope that maybe does something.
There are three major social issues that this country is struggling with: education, poverty, and drugs. Two of them we talk about, and one of them we don't.
Getting upset about Netflix, to me, is like getting upset about the weather. It's just something that's happening, and we have to decide what we feel about it.
We're all standing on the shoulders of what other people have done. But you're supposed to take that and add your own sauce. It can be intimidating, believe me.
There's a big difference between a movie about relationships and a movie in which people talk about relationships. It seems like a lot of people have confused the two.
I come from a generation that was surrounded by popular music, but I don't know if anybody's ever going to move the ball forward as far and as fast as the Beatles did.
There's a technical reason why I think that frame rate is weird and it has to with your brain's ability to scan beyond a certain rate. The point is I find it looks weird.
Traffic is about drugs. As detailed a portrait as I can muster about what is happening in the drug world, from top to bottom, from policy to how things move on the street.
I'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves.
Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.
I just produced Criminal, this remake of Nine Queens, and one of the things that appealed to me about Nine Queens is that it was a performance piece, and that's the most fun.