You write who you are. But you also cheat, and youwrite what you want to be. It’s embarrasing to be the guy who madethe movie, knowing you’re not exactly who you want to be.
You know, I’m really not that competent at describing things musically.
I don’t want to be the angry guy.
I didn’t have any desire I might have had 10 years ago to shoot every single word that I wrote.
Clinton used to like to get out of the White House a lot. He would take night trips to McDonald’s, and stuff like that. I think he wanted to get out of the house.
No matter how many times you do it, you don’t get used to the sadness – for me at least – of coming to the end of a film.
As I have got older and become a father, there’s less and less time for films.
I’ve never been a fan of whimsical or confusing storytelling.
It felt like the first thing, but when I first started out, I got a job adapting a book by Russell Banks called ‘Rule Of The Bone.’ I didn’t do a very good job. I didn’t really know what I was doing in general, let alone how to adapt a book.
You have to be a brat in order to carve out your parameters, and you have to be a monster to anyone who gets in your way. But sometimes it’s difficult to know when that’s necessary and when you’re just being a baby, throwing your rattle from the cage.
I’m not really a Sundance baby, but they helped me so much I feel I have to acknowledge it.
My dad was this sort of avant-garde guy who did all kinds of weird things. He was a true original and anybody who met him never forgot him.
I have a feeling, one of those gut feelings, that I’ll make pretty good movies the rest of my life.
I had the standard movie geek childhood, because for as long as I can remember, all I wanted to do was make movies.
I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film’s abrasive and wrongfoots people then, y’know, that’s great. But I hope it involves an audience.
I write from my stomach.
Of course, I’m no dummy.
I don’t miss scenes at all the way that I used to miss them when I was younger making a film. It’s actually quite fun to get rid of them now.
To make a film, the final big collaborator that you have is the composer.
We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?
How do I respond to criticism? Critically. I listen to all criticism critically.