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The most creative and most periods of my life that were, had the most growth, were the ones where I was perceived to be failing. Perceived success is a, is really hard 'cause it doesn't really, it's not asking you to grow, see failure is asking you to grow.
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Directing is like putting together a collage.
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I've had different opportunities in my life, but I've tried to maintain the spirit of an amateur. Our culture roots everything in the barometer of success and how much money you make. But if you really just aspire to a life in the arts, it's really not a barometer at all.
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I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.
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For me, the real goal is to integrate. The thing that I'm most happy with is the fact that I've been able to keep doing all of it - to keep writing, and to keep acting in movies, and to keep acting on the stage, to keep directing plays. I find that they feed each other, and that I learn about acting from directing and I learn about writing from acting.
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I can't tell you how many times in the '90s I'd meet somebody, we'd be having a nice time, and they'd sigh and go, 'This is exactly like Before Sunrise.' And I'd have to get up and leave.
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The more kind of head trippy sci-fi. I always like that. I was a big 'Twilight Zone' freak.
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I think that if you walk through this life and I end up being a bad father, then it won't matter anything else I achieved in my life. It will all be irrelevant.
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In your mid-twenties, the paint is still wet on who you are.
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At every turn, when humanity is asked the question, 'Do you want temporary economic gain or long-term environmental loss, which one do you prefer,' we invariably choose the money.
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Sometimes in the life of an actor you're not getting offered any jobs that speak to you. The trouble with acting is that you're only as good as your opportunities.
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Time is so much a part of what makes you close to people.
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I kill flies, I eat meat, you know, whatever.
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It's certainly an interesting moment to try to talk about, 'cause you could make a great show about the police force right now, with all that's happening in the news and Ferguson and all of it.
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I always felt that a marriage works best at a farm... where you're together and everybody has clear-cut roles; they have chores, 'you take care of this' and you know. But it's hard.
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The writing process was some of the most exciting and rewarding moments of my life. It felt a lot like being in a band.
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There's only so often you're going to have an opportunity to contribute at a high level and that you should be grateful whenever one presents itself and not take it lightly.
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I thought I was so much smarter than everybody. And I'm not.
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Right now, if you're interested in being a dramatic actor, they're not making that many just regular dramas. Movies have to have some other thing going on.
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The constant buzz and pressure and noise and static of the Internet, and the way it makes young people feel makes it difficult to grow up and develop the way one might want to.
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I think it's my job to risk looking foolish. One of the things I've learned from the actors I've worked with is you don't get something for nothing. If you don't risk looking foolish, you'll never do anything special.
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When you start becoming really successful, the demons start to tempt you - the demons of vanity and self importance, drug abuse, the feelings of fraudulence. But, it's also a thrill. That's what I found weird.
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I'd really rather that nobody had a gun, and then nobody would have to worry about it. That would be more my theory. In America, there's this knee-jerk response that more walls and more guns make people safer, and I'm entirely suspect of that way of thinking.
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I love working on scripts. I love coming up with ideas about what people would dress like or talk like. I love all that.