James Gray Quotes
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At a certain point, you have to kind of realize that greatness is a messy thing.
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I don't think my parents told me enough how the world doesn't really care about me. I think it's important to tell children that the world doesn't really care about you. You have to fight to be heard.
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I have no interest whatsoever in pursuing acting or becoming a mogul. I love writing and directing; I see those two jobs as the most critical in the making of a film.
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I am an Ashkenazi Jew, and there are a whole host of genetic disorders that only Ashkenazi Jews have. I don't know if you know this, but 16 or 17 disorders that we carry the gene for.
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The actor always must be in the scene, not above the scene. To communicate any larger ideas is my problem; it's how the narrative is constructed and directed that hopefully does it.
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The ending shot of 'Queen Christina' with Greta Garbo is amazing. She's at the head of the ship, and she's been through so much, and the camera gets so close to her face. That really sticks out for me.
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My wife and I had been to the genetic counselor; my wife is not Jewish - she's the shiksha goddess type - and was negative for everything. But I was positive. I carried the gene for three genetic disorders, which, if she had been positive for, we would have passed down to the child.
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I think to be a movie critic is troubling from one major respect. If you are forced to watch ten movies a week, it's really only something you can do for a few years. After a while, it's a bit too much.
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It's the demand of all demands to do a car chase that's unique because there are so many... really since the beginning of film, even in the silent era, 'The Keystone Cops.'
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It's very difficult to put your finger on why a certain actor or actress will capture your attention, and you'll think they're right for a role. There's an essence to a person.
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I have three young children, and I kind of stopped going to movies in 2006. I go to see some, but I'm a little bit out of touch, and I didn't know who Marion Cotillard was.
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I feel that The American Dream is this fallacy that you come to the United States and win lotto. That's a disservice to The American Dream because the American Dream is worth striving for. And it's not easy.
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The first movie, I was 23; I thought I knew everything, but my ego soon took an irrevocable blow.
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The sad truth for American actors is that they really have no control whatsoever over the material that they get, or can do, particularly actresses. And if you're over 40 and you're an actress, forget it.
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It's hard to run away from who you are, and when your taste is formed is a very important thing.
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The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
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My grandparents, they came through Ellis Island in 1923, and you know, I'd heard all the stories.
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I don't envy the job of people who have to watch five movies a day - that's insane.
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It's difficult because Manhattan is so fantastic, and it's 9 miles away, and all these cool rich people live there and have great lives, and you live in a semi-attached row house in Queens.
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Melodrama and melodramatic are not the same thing, and often people make the mistake of confusing the two.
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The state of being in love is so inherently preposterous. It usually lends itself to romantic comedy. I think we've all been there.
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The key to humor is often self-loathing or sarcasm. In a sense, that's how self-loathing is made palatable.
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It's weird, because American films in the 1930s and '40s, particularly melodramas, were made for woman, from Bette Davis to Joan Crawford to Barbara Stanwyck to Katherine Hepburn, and for some reason we've taken a step backward in this sense.
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I grew up in a semi-attached row house in Queens in New York. And my family and my grandparents and my father's from Brooklyn, and so you're essentially an outer boroughs kid, you're growing up.