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Sometimes when you're heavy into the shooting or editing of a picture, you get to the point where you don't know if you could ever do it again.
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I didn't realize there are generations who do not know about the origins of film.
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I've seen many, many movies over the years, and there are only a few that suddenly inspire you so much that you want to continue to make films.
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I loved the idea of seeing the world through a boy's eyes.
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I mean, music totally comes from your soul.
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It's hard to let new stuff in. And whether that admits a weakness, I don't know.
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I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.
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I think there's only one or two films where I've had all the financial support I needed. All the rest, I wish I'd had the money to shoot another ten days.
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I also saw the Dalai Lama a few times.
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You don't make pictures for Oscars.
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Young film makers should learn how to deal with the money and learn how to deal with the power structure. Because it is like a battle.
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I'm an older generation.
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I do know that some Buddhists are able to attain peace of mind.
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You've got to understand when a collaborator isn't satisfied anymore.
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I've been to North Africa many times.
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Howard Hughes was this visionary who was obsessed with speed and flying like a god... I loved his idea of what filmmaking was.
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We can't keep thinking in a limited way about what cinema is. We still don't know what cinema is. Maybe cinema could only really apply to the past or the first 100 years, when people actually went to a theater to see a film, you see?
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Well, I think in my own work the subject matter usually deals with characters I know, aspects of myself, friends of mine - that sort of thing.
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There's no such thing as simple. Simple is hard.
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It's very good for me to remember what actors go through.