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As a filmmaker, one tends to want to evolve evermore towards a place of independence.
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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 don't believe in God in the way I often see described by religion.
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It's about creating an atmosphere so that characters can just live in front of the cameras. And to be sensitive, and for the actor to know the sensitivity that they are being observed with.
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Film as a medium, like a novel as a medium, possesses a unique ability to communicate. Film is capable of communicating in a way that no other medium can, and I would say the same for the novel.
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My nature is to try and look past apparent truths, to pull back layers and understand the psychological motives behind phenomena.
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Every film requires a different process. You learn about these particular actors and the particular chemistry between these actors. Recognizing when you don't need to shoot a scene because it's going to be cut anyway.
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The version of 'Moneyball' I pitched - and we made - is about a guy, Billy Beane, who thinks he's trying to win baseball games. But it's deeper than that.
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It couldn't be more satisfying to work on something almost anonymously for years, then to have it received affectionately with support.
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If you find yourself considering a project that seems like a layup, then you're diluted, or that movie's probably not the right movie for you to be making.
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I think Will Ferrell is probably completely evil, the darkest of them all. He is known among comics as the dark knight. An evil, evil man and a dangerous soul.
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It's great making a film and having it embraced and seen. I really enjoy that.
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My entire life can fit into a knapsack.
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I've never even watched one of my films since they're completed.
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You make a movie and you'd like it to be appreciated, respected, embraced.
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I'm interested in telling stories that add up to more than the entertainment of the story. That's what does it for me.
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You can recognize almost immediately if the film you're watching is the product of some kind of a hive mind or the result of a personal vision and genuine collaborations. 'Manchester by the Sea' reminds us of the potential of the latter and, for that reason, is the kind of work that makes me, as a filmmaker, want to continue. It's inspiring.
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For me, personally, the value of a film is not determined by a review, but the health of the film is.
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The silence of a room when someone enters with a gun is very different from the sound that room makes when empty.
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A film cannot make it into the culture without the support of critics.
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If something is to be quietly powerful, it requires more balance than a film that allows for more freneticism.
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A lot of the time, excess on a film set is just damaging.
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If you have a vision for something, things are navigable. If it gets fuzzy, then obstacles become much more formidable.
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People are attracted to entertainment, for sure, or jokes, excitement and romantically heightened stories that might be false, but are still attractive fantasies.