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Sometimes the facts can get in the way of the telling of a good story. But they don't get in the way of the truth.
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My films are inquiries. I've chopped down all the signposts, I really resist taking moral positions.
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I like to have something that I can challenge common-sense notions about, challenge the apparent truths, and really look past the many faces of a thing to see what's behind it.
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Honestly, my smartest business decision was to never do anything that I didn't love doing.
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What I will say - one thing that is attractive about getting a real film made within the studio system is that studio systems, with their marketing and distribution, have real power.
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As a filmmaker, you're looking to reveal something. When other people relate to it, it makes an otherwise lonely world a little less lonely.
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Making a film is a challenge.
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Every relationship probably has, at its inception, a hundred things that you could pick on and divert you from it, but the feeling is there. You figure out a way to make it work.
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I am and always have been fascinated with people, and I have a very good time coming up with the narratives of people's lives, exploring how a person thinks and feels.
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A film cannot make it into the culture without the support of critics.
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It's amazing how much you will forgive if the behavior is truthful.
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It's hard. It's hard to get a film made properly.
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Silence is absorption, and when you're watching a film and you're that quiet and you're that still, at least from my experience of watching films, that indicates an absorption, where you're really in the moment. You're really present. What you're seeing is vital to you in that moment, and it's tingling, and it's alive, and it matters.
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I think in terms of content and subjects and whatever kind of production it dictates. Can I conceive of an idea that would really connect with my personal rhythms and cost a lot of money? I don't gravitate in that direction, but it is possible.
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I think I am missing a gene that most people have to enable them to feel happiness about success and these kind of things.
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I'm attracted to stories of people who don't belong together, who embark on something and find themselves in places they don't belong.
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I am attracted to characters who are in worlds where they don't belong and who have great ambitions that they imagine will somehow reconcile themselves with the world and make things right.
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People without fathers tend to have two predominant characteristics. They tend to believe anything is possible. At the same time there's an anxiety and an unending insecurity. It's a very American thing because back in the past, we lost our fathers or father. The king.
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I don't believe in God in the way I often see described by religion.
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If you talk to anybody, among the first things you'll hear is, 'Steve Carell is the nicest guy in the world.' And he is. 'Steve Carell is the greatest guy to work with.' And he is. But all of that belies other aspects that are as true with him.
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My business life is really simple. It's like, get check. Put check in bank. Pay rent. I've never bought a stock in my life. I never got caught up in that trip. And the truth is, I don't obsess about money ever.
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I am attracted to anything that does not feel derivative.
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I like to rehearse. We did a lot of rehearsals for 'Moneyball,' but it is really individual to the actor. It's not like, 'Here is my process, everybody. Fit in.'
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I don't know of a filmmaker who does not feel buoyed and lifted when their peers embrace the work.