David Milch Quotes
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That's the definition of love, that going out in spirit to a separate and other soul and being received similarly.
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It may be, for one reason or another, if I'm not able to work, that would be a cause for distress. But I'm still pitching. Thank God, I'm still in possession of my gift. And I have the love of my family.
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The whole idea of going out to a movie was really a secularized version of going to church.
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A person could look at me through ninety-five per cent of my experience and know that I had no shot. Because I was so unreliable. The only thing you could rely on me for was to betray you.
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Your fundamental responsibility is to stay true to the deepest nature and intention of the materials.
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I have several different masks that I wear.
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Time will tell whether I am a wing nut or a megalomaniac. The difference between a cult and faith is time.
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My process is very disempowering to the director anyway, so it's essential that you be respectful. Once we've sort of found the scene, I have to get out of there, because you don't want to split the actor's idea of who's in charge.
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When I was a kid, my dad used to take me out to the race track, and so many formative experiences have to do with associations like that.
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In any operation, what you have to do is to persuade the patient to grant access to the patient's energy. The purest form of that is when you're trying to help a woman through labor: when you're saying, 'Push, push!' and you're rhythmically with the woman.
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Ego suppression can be an act of ostentation.
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I remember when I was reading 'The Bear,' I was reading as a kid. All these years later, one returns to that for an entirely different reason.
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I had proposed to HBO a series about the city cops in Rome at the time of Nero. What had interested me was the idea of order without law. The Praetorian Guard, who were the emperor's guards, understood how they were to proceed. But for the city cops, who were called the Urban Cohorts, there was no law at all.
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You want to harbor your resources and try not to make a mistake.
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The truth is I try to show up each day available to do the work that God or whatever it is that's making, you know, the solar system work wants me to do. And I expect when he wants me to stop, I'll be the first to find out.
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If you have a horse that can beat horses worth $20,000, typically you enter it in a $20,000 claiming race. Now there might be people who feel their horse is worth $20,000, and they say, 'I wouldn't mind seeing the horse get beat.' So they'll enter it for $40,000 so the horse looks like it's performed badly.
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Showbiz and churches are the same thing. You never saw 'The Wizard of Oz?'
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Faulkner speaks to us on the questions of race, the challenges of modernity, and modern man's dilemma in all of its aspects. That he is able to specify among those and bring those themes alive is one of his great gifts. There are so many different kinds of pleasures one gets from encountering those materials.
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I've been beaten. I know what that's like. They say, 'Who has been a nail can learn to be a hammer.' So I know what it is to beat people.
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Every man's entitled to hope.
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I think it's disrespectful to go onto a set without some clear idea of what your intentions are, because then you're hanging the director out to dry.
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The paradox is that money never meant anything to me. And it still doesn't, except now as an occasion for regret in that there are things that I want to make sure my family is protected when I pass.
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What part of 9/11 is big? If the future continues to reinterpret the past, it could be argued that 9/11 provides irrefutable proof that unless there is some other way that we learn to deal with our technology or deal with our brothers and sisters, it is goodbye as a species. That genie does not leave that bottle.
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With 'Nostromo', Joseph Conrad said that he had wanted to write a novel about the degradation of an idea. That's what we wanted to show in the case of Dustin Hoffman's character, Bernstein.