James Gray Quotes
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To the extent that independent means you're willing to attempt to put your own ideas, personality, and commitment to the material on screen, then of course I hope I'm independent until the day I die.
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'Apocalypse Now' does not alienate us or deconstruct itself. In fact, it welcomes us in.
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I'm just not willing to give up on myself. If I'm going to fail, then I want to fail to the limits of my talent.
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I had written 'Two Lovers' before we started shooting 'We Own the Night.'
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The idea that the family is this locus of support but can also hold you back and keep you down makes for good drama.
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Americans have always been excellent at making romantic comedies - but dramatically, we don't really try to do it.
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Most people don't watch a movie four or five times; they watch it once.
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The films I grew up loving, and the art that I love, is not generally the kind of postmodern ironic winking stuff. What lasts is the stuff in which the artists are totally in league with the subject.
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The word 'operatic' is often misused to mean over the top, where someone is over-emoting. And that does a terrible disservice because 'operatic' to me means a commitment and a belief to the emotion of the moment that is sincere.
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I've learned that you can never predict what will happen to a film. You can never predict if people will love it, if they'll hate it. It's an act of ego if you're hoping for everyone to love the film and tell you how great you are.
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The corporate system dictates what gets made, and the movies are so bad because of the economic structure of Hollywood. The big business takeover of Hollywood is at fault rather than American storytellers - it's what keeps textured movies from getting made.
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I remember as a little kid, I would always feel comfortable if the light in the crack of my parents' door was on at night. When it went off, that meant they were asleep. Then that terror and the fear of being by myself started to creep in.
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I start with a mood or an idea that comes from a personal place emotionally, and the narrative concepts come much later.
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I think storytelling is a thing of beauty, and also very difficult. It's a craft you have to continue to work at.
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The key to acting - from what little I know about that wonderful craft - is listening, and interacting with the other person in order to achieve magic. One way to do that is almost to provoke.
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Really, what I'm doing is an attempt to continue the best work of the people I adore: Francis Coppola and Scorsese and Robert Altman and Stanley Kubrick and those amazing directors whose work I grew up with and loved.
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For me, I get a part of an idea here and a little bit of an idea there, and then finally it accumulates into a movie.
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There are very few movies in English about romantic obsession told with a seriousness of purpose.
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It's much easier to make a movie with kind of stylistic pyrotechnics because you can hide behind that if there's a gap in the story.
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All I can say is sometimes home gets burned into your occipital lobe, and it can't leave you, and there's always that longing.
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William Atherton has a very different acting style to Bonnie Bedelia; she has a very different style than Bruce Willis.
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I think I'm a very American director, but I probably should have been making movies somewhere around 1976. I never left the mainstream of American movies; the American mainstream left me.
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I think true economic class unhappiness comes from when across the street someone has a new Cadillac and you can't get that.
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If you read about the astronauts who went to the moon - the 12 who walked on it, and the others who orbited - all suffered serious mental trauma of one kind or another.