Jeff Nichols Quotes
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I really don't care about plot. I really, really don't.
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'Mud' was a depository for a little more nostalgia and just a different kind of feeling, a different kind of mood. Something that's not so dark. Something that does actually have a happy ending and is a little more hopeful.
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It took me a year just to edit 'Shotgun Stories.' Actually, it took me two years to edit 'Shotgun Stories.'
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As a director, you see something in someone; you know it's there, you just got to go get it. You do that with any actor. That's your job.
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There's one right place to put the camera. I'm a big believer in that. You'd think you could put it anywhere. Nope.
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Definitely when you give a script to an actor, it's like dropping a capsule in water and the fizzing starts. That's when the thing starts to live and breathe.
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I have a very linear mind.
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I really don't know how to tell you what it feels like to be a parent.
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I've been really lucky when it comes to casting kids, and I don't particularly like child actors. Too often, they just show up, and they've had whatever real innocence that's in a child just beaten out of them. They start to perform for you, and you can just see it coming. It's no good.
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Steven Spielberg had a tremendous influence on me through his early stuff. 'E.T.', 'Close Encounters of the Third Kind' - 'Jaws,' I think, is one of the most beautifully directed films ever.
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My connection to 'Aquaman' came out through the Sony hack. It had no relationship to reality. I was not on that film. I was not hired to work on that film. I had been talking to Warner Bros. about it.
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I've only seen one snake out in the wilderness, not behind glass, and I froze. I literally couldn't move. So to say I have a fear of snakes would be true.
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There's a reason why I use film. It's because it's the best representation of how our eyes work. I really believe that. I think it's better than digital.
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I loved, in 'Starman', the use of anamorphic lenses, the creation of blue light, and Carpenter's use of the widescreen format.
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The films that have influenced me most are: 'The Hustler', 'Badlands', 'Hud', 'Tender Mercies', 'Cool Hand Luke', 'A Perfect World', and 'Laurence of Arabia'. I also really like 'Fletch'. I feel like all of these films reached an honest place in regard to the human condition while also stringing together really entertaining stories.
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I grew up in Arkansas, and I went to Little Rock Central High, which was the site of a desegregation crisis in '57. I graduated in '97.
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I think when you're talking about marriage equality and race, people very quickly start to get into their political corners: their ideology comes to the forefront, and they get into this platform argument that they're used to making, which really doesn't have anything to do with the day-to-day basics of what is being talked about.
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There are great advantages of making things on the independent market. There's freedom and control there, and kind of a cleanness to the process that I like.
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I think I could probably make $5 to $10m movies for a very long time and live a perfectly good life doing it. I'd probably get paid as well as a surgeon, which is pretty damn remarkable for a guy who went to film school.
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In terms of my personal spirituality and everything else, it's ever-evolving. I have a desire to want more out of the universe. But the older I get, the further I get from any specifics about that.
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A lot of independent filmmakers are really catty.
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I never wanted to make movies just for me. I want to make movies that people watch.
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I've been just unsuccessful enough not to have been given a big opportunity too soon.
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I think it's important to say typing in the computer is like the last, last phase of my writing process. That's kind of the fun part. Well, it's all somewhat fun, I suppose. But usually what happens is I think about a movie for at least a year - maybe a couple more - and I don't put anything down.