Richard Linklater Quotes
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Slackers might look like the left-behinds of society, but they are actually one step ahead, rejecting most of society and the social hierarchy before it rejects them. The dictionary defines slackers as people who evade duties and responsibilities. A more modern notion would be people who are ultimately being responsible to themselves and not wasting their time in a realm of activity that has nothing to do with who they are or what they might be ultimately striving for.
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I'd be fine if there weren't film festivals, and you just made your films and didn't have to do anything from that point on. That would be really great, wouldn't it? I don't know. I'm in kind of an aloof time, where I'm not taking anything too seriously.
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The trick is to combine your waking rational abilities with the infinite possibilities of your dreams. Because, if you can do that, you can do anything.
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I believe if there's any kind of God it wouldn't be in any of us, not you or me but just this little space in between. If there's any kind of magic in this world it must be in the attempt of understanding someone sharing something. I know, it's almost impossible to succeed but who cares really? The answer must be in the attempt.
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The idea is to remain in a state of constant departure, while always arriving.
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Filmmakers are going to make films, just like painters are going to paint.
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I've always liked the minds of criminals, they seem similar to artists.
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Being alone is better than sitting next to a lover and feeling lonely.
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If we're all going to die, shouldn't we be enjoying ourselves now?
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I didn't have any set idea of what kind of filmmaker I wanted to be. I knew I wanted to tell stories that meant something to me, but I never said I was going to be the weird, avant-garde guy.
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Memory is a wonderful thing if you don't have to deal with the past.
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It's hard to see a film one time and really "get it," and write fully and intelligently about it. That's a review. That's not film criticism. And there's so many expectations involved, too. You're going in to see the latest Martin Scorsese or Stanley Kubrick film, you really have high hopes, and you can't help but find that it's not exactly what you had in your head going in. Until you can watch it again, you can't accept the work for what it intends to be. It takes at least a second viewing.
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Your friends are really an extension of your vision of the world. It's kind of a physical manifestation of how you feel. Like your soul.
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I'd like to quit thinking of the present as some minor insignificant preamble to something else.
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The rules of parenting have changed. By the modern definition, we were a generation of neglected children.
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I always sensed instinctively from the earliest age that I was being lied to.
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Yeah, a memory's never finished, if you really think about it.
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As we know from our government, the more power you have, the more of a bureaucrat you are, and the more ego you have invested in being right, the greater the odds are that you will never change your opinion.
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Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.
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I can't help but think that at the end of your life, when you look back, there'll be a tone. And that tone will come from the essence of how you live your day to day what you did in that between time because that is really your life.
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There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.
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When you're in love, you're asking someone else to fulfill all your unfulfilled needs, to make you whole, and to make you feel good about everything, and no one can do that.
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I think maybe making films is something innate you can't really teach to begin with.
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Everything that you could think about in life, or experience, or be interested in, theoretically should be expressed or dealt with in cinema. But the way typical narratives are set up, there's no room for philosophy, because it's just digressive material. It's not advancing the plot, so there's no place for it. It's the kind of stuff you would cut out, and that you shouldn't have put in there to begin with.