Camper Van Beethoven Quotes
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I like to make movies in Texas because that's where I learned how to do it. I know the industry there, I know the people, I know the crews. But it's hard to make films in Texas.
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I can't watch my movies at their premieres - I learned that lesson the hard way.
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Making movies is hard for me. Being on set is very trying. I'm not good at being that communicative for that long. Editing is where I'm happiest.
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I love working with the same people. When I find someone I love and that I like working with, I don't want to stop working with them.
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I have always thought of myself as a writer, only because I need things to direct, and I can't not write the things that I direct.
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I can't solve a puzzle for the life of me - my brain doesn't work that way. But I can take a very simple idea and extrapolate from it and spend time with it and pull things out of it.
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I've always endeavored to make movies with my friends.
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Digital is my safety net. I know how to use it, how to operate those cameras; it makes sense to me. Film is much more mysterious.
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The first movie I ever saw in the cinema was Walt Disney's 'Pinocchio,' upon its 1984 re-release, which would have put me at three years old.
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David Lynch's 'Fire Walk With Me' has a scene in it that scared me so bad that I don't remember it. I blocked the memory out - repeatedly! I've seen the film two or three times, and I can never remember what it is that scares me.
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So many of my films involve houses or homes that have been abandoned. People trying to get back home. That's an idea that I keep dealing with.
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I want to live a very positive and optimistic life that has a wonderful outlook on the future and the impact that I will have on the world and the people around me.
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I love dialogue, but I'm also terrified of it. In all my movies, I've done my best to cut out as much dialogue as possible. I love the spaces in those silences. Even in 'Pete's Dragon,' I was so happy that the first twenty minutes have about five or six lines of dialogue.
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I take a great deal of value in things that are done by hand or executed by hand.
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At the end of the day on 'Pete's Dragon,' if we didn't nail something, we could come back and pick it up later. I always knew there was a safety net built in that Disney would not let the movie fail. But in this case, with 'A Ghost Story,' it was all on the line.
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I find everything in life a little bit sad, but I also find a great deal of hope everywhere I look.
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It's something that you pick up at a history class in college, the idea that history and time is something to which we can't even hold a candle to. We, as human beings, are just a small element in the overarching sweep of narrative history. That really had a profound effect on me, that realization.
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I don't think I'm the best screenwriter in the world. It's just important to me to write my movies so I'm personally invested in them.
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I grew up in a deeply Catholic home. Our parents always encouraged us to march to our own drums, though, so some of us are still Catholic and some are not. That's always going to be a part of me though; little bits of it trickle into my work. Whether it's an embrace or a rejection, I'm not always sure, but I can't avoid it.
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One of my biggest regrets is that I didn't finish college.
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If your financiers care about the movie, they will be involved in a very constructive fashion, but it can get out of hand very quickly, and that is something to be aware of in any type of filmmaking.
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I often conflate the domestic and the cosmic on a daily basis.
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I'm happy to keep making Disney movies.
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Virginia Woolf's literature really transformed my own ideas about how to formally represent the passage of time and how time affects us. Specifically, the benchmarks are 'Mrs. Dalloway,' 'To the Lighthouse' and 'Orlando,' all of which have time as a central conceit.