Kenneth Lonergan Quotes
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'You Can Count On Me' took 20 days to shoot, and we had 50 days to shoot 'Margaret.'
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I've done a lot of assignment work in my life, and the only way you can do it is to make it your own as quickly as possible, and then you give it back.
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Very often what will happen between actors is that they'll develop kind of a ghost relationship in real life that reflects their relationship on screen or in the play that they're doing. In fact, I'd say that happens almost every time. I don't know why that happens, but it seems very common.
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It's not a character flaw to become an adult.
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You're thinking about the physical consequences about what you're writing if you're going to direct it. If you're not going to direct it, then it's somebody else's problem, and they'll solve it.
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I was nearly a teen-ager before I stopped assuming that everyone I met was Jewish.
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Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.
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Little kids grow up discovering the world that's shown to them and then when you become a teenager, it kind of shrinks a little bit. I think when you get past that point, one of the important things is that you see there is more to the world than yourself.
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There's something about the impact of a big screen that means something to me, even though I realize almost every film is fated to be seen for a year in theaters, and then forever after on television.
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I know there are some actors who won't switch their accents off when they're on set and like to be called by their character's names. That works for them, and that's great.
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I think I have never seen a humorless movie that was any good to me.
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I love 'Close Encounters of the Third Kind.'
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I remember the kind of teenager I was, the kind of teenager I wanted to be, and then the kind of teenagers that were all around me. Life is lived on such a big scale in those years - and such an embarrassing one as well.
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Truthfully, and I don't mean to sound naive, but I don't know that much about the film business.
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The theater is often seen as comical in the movies; to me, it's not comical - it's my life. I don't mean that it can't be comical, but it's not only comical.
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I actually think storyboards are great. I don't draw well enough to do them myself. I've only used storyboards a couple of times. We used two storyboards in 'Margaret': one for the bus accident and for the opera sequence at the end.
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There are so many details in a movie that it's amazing how much work you'll do to change what adds up to not that much material.
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I wrote a play once called 'Lobby Hero,' which I thought turned out very well, but there's no final version of it. I published the one we produced, but there are seven other versions with different variations sitting in my desk at home.
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I often find myself writing about people taking care of each other, or trying to.
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To me, 'director's cut' means that what was released before was somebody else's cut. That, to me, always implies that what was released wasn't what the director wanted.
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If you're going to make a statement, I think you should write it in prose and make a statement. If you have characters who are mouthpieces for a point of view, then you have to be very clever about disguising it.
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I'm always really interested in different environments and how they affect people's lives and what it would be like to live somewhere else.
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I love accents, I love listening to people talk, I like to try to emulate it as accurately as I can.
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I do a lot of improvising when I'm writing, and I work very hard on the scripts... they are written very much in an actor-friendly way.