Camper Van Beethoven Quotes
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I certainly did not envisage making a Disney movie. The most I hoped for was to be able to pay my bills. I was not a go-getter. I was very type-B.
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I like being able to go to the cinema and sit and spend time observing something without thinking about plot or what one character is saying. I feel like I'm able to connect on a much more profound level.
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Obviously 'Pete's Dragon' is more commercial than 'A Ghost Story,' but when making them, I'm just trying to tell a story that matters to me, that ultimately would satisfy me as a moviegoer. Because watching movies is my favorite thing to do. I watch a lot of them.
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The very first film I ever made, when I was seven years old, when I got my hands on a camcorder, was a remake of 'Poltergeist,' which I hadn't seen yet because my parents wouldn't allow me to. But I made my own version of it, and it starred my brother in a bed sheet.
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The only part of 'A Ghost Story' that was reactionary was a temporal one. I had spent so much time making 'Pete's Dragon' that I was really impatient and excited to make something new. When this project presented itself, I was ready to jump right into it. I started shooting two days after 'Pete's Dragon.'
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I made 'St. Nick' on a 30-page outline. 'Aint' Them Bodies Saints' was a full-bodied script, but it still had a lot of room for improvisation. There were scenes that weren't there on the page - just a sentence saying something happens. I was like, 'We'll figure this out when we shoot it.'
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When I was a kid, Santa, the Tooth Fairy, my stuffed animals - they were real. There is the tremendous suspension of disbelief that you have as a child. It's harder as an adult.
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I love movies. I can't participate in my love of movie-making fully unless I'm producing it.
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Hindsight is the most dangerous thing imaginable for me. I imagine that's the case for most filmmakers. And I would love to be a filmmaker who was an exception to that rule, but I'm certainly not.
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I think there is a value in leaving the world a little better off, and movies can do that in a minor way.
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I don't like being pessimistic. I don't like living my life with a nihilistic mindset.
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Knowledge of music business gives us access to artists, talent and a unique approach to performing services for advertising. Not to mention the branding implications of unique music with original sense for linking an advertiser, its message and its target.
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I'm a deeply romantic person, nostalgic to a fault.
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Time goes by so slowly when you're a child, and then, as an adult, it goes by in the blink of an eye.
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If I can't finish a screenplay, if I can't get to the last page as a writer, it probably means it's not a good movie for me to make.
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The relationships I've had with animals are often some of the most profound. That's why you cry when a dog dies in a movie. The connection is so deep and so profound, and it isn't cluttered by humanity.
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Grief reveals itself in the most mundane activities, like eating. It's never when you're looking at old pictures.
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I love communicating non-verbally. I find great value in it.
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I have a repository of titles I like in my head, and I am always looking for a movie that I can put one on.
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I love what Paul Thomas Anderson did with 'The Master' with putting out those teasers made up of footage that's not in the movie.
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I'll be on the field about 100 plays a game (this year), ... (But) I'm all about winning, so if they need me to step in and help then I'm going to do it.
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When you have a lot going on in a scene - whether it be a lot of shots, a lot of coverage, a lot of edits, or just the amount of content - it can cover up a deficit of true feeling. But when you don't have a lot of material to work with, you really have to be sincere with everything. You really have to mean it, because there's nowhere to hide.
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I guess you could say they consulted with us, but it wasn't like a friendly exchange. We got a cease-and-desist letter from them.
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When I'm writing a story, I try to reduce it to the barest possible components and go from there.