Dan Gilroy Quotes
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When I'm directing, I noticed I'm not using my subconscious at all. I'm literally using the whole front part of my brain all the time. When you walk on the set, every moment you have to be there because something's going on that requires attention.
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Has Werner Herzog ever said anything that wasn't true? What a brilliant fountain of wisdom. Everything he touches I'm just fascinated by.
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Media is extraordinarily important and is an extraordinarily powerful tool. There's a reason that the first things that a rebellion or revolt will take is the media. The story you transmit is the story that becomes a given, or the narrative of a country and people.
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The friends we have, these are choices that - unlike family, which we have no choice in, and I love my family, thank God - we've given ourselves, to some degree.
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A number of years ago, I found a book of photography by Weegee; he was a crime photographer in the 1930s in New York. He was the first person to put a police scanner in a car and drive around.
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Coming out of the '60s and the Vietnam War in America, it was commonplace for people to make films that had relevance to them. And since the '70s, cinema has gone almost entirely in the direction of spectacle and escapism and superhero films.
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A lot of times, L.A. is desaturated, and cement and freeways, and downtown.
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I don't know too many people who, when the TV announcer says, 'Viewer discretion is advised', then turn the TV off. Those are code words for, 'Turn the sound up; this is gonna be really good.'
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It's the reality: film is a director's medium, and, ultimately, they are the ones that are in charge, and you have to respect that because somebody has to be in charge. But, yeah, you do reach a point where you want to have your voice come out.
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I reached a point where I'd watched enough directors do the job that I felt I understood it. And it's not that I'm a slow learner and it took me this long; I also was enjoying writing, and I still enjoy writing - I get tremendous satisfaction out of the writing end of it.
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Every film you're commissioned to write is all about an arc; usually, the arc is that the world creates a change in the character, usually for the better. To not have an arc, the messages and ideas in the film became more prominent.
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A script like 'Nightcrawler' gives me an opportunity to truly realize a vision that's mine, which is exciting.
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In Los Angeles, you drive around, and you're coming back from a club or something, and all of a sudden, you'll encounter a coyote. And they're very lean, hungry-looking animals.
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I spend most of my time in a room alone where eight hours go by, and I have no sense of time. I work seven days a week, and I live in this sort of vague subconscious fog a lot.
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A sociopath is just a label and doesn't encompass the entire being of a person.
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'To Die For,' with Nicole Kidman, is great - her desire to be a part of news, how she uses news to further her career and how it can drive you insane. I love that movie.
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I watch a lot of television, for better or worse, and I am particularly interested in what Michael Moore brought up in 'Bowling for Columbine,' which is the idea that they're selling a narrative of fear.
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I had heard about the nightcrawling world, and I'm very aware that there are tens of millions of young people around the world who are facing bleak employment prospects.
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When I'm writing, I'm trying to access my subconscious and turn off my conscious brain. I use my conscious for research, but when I'm actually writing, I'm trying to get into a place where I'm tapping into the deeper, darker elements of what's going on.