Film Quotes
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You can act in five, six, or seven films in the time it takes to direct one film.
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When I'm doing theatre, I feel like my life's on hold. Even though you might go out for a coffee, or go and see a film, your brain is still there, pulling you back to it.
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I have never had great expectations of my performance or of a film. I try not to think about the outcome. If you look that far ahead, it sort of taints your choices as an actor. I try as hard as I can to believe that no one is ever going to see it and that it's not even a movie. Then you can allow yourself to bare more. Then, once a project is done, I tend to forget about it until it comes out.
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To be honest, you have to do a big Hollywood film to get enough money to do a good independent film!
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Howard Hawks said he'd like to put me in a film with Cary Grant or Humphrey Bogart. I thought, "Cary Grant-terrific! Humphrey Bogart-yucch."
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Paris, Texas is the first film that I've totally cared about, the first movie I totally wanted to do - and that after 27 years that I considered my prison term.
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There's nothing quite like the idea of failing spectacularly to excite a film maker
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There is something particularly fascinating about seeing places you know in a piece of art - be that in a film, or a photograph or painting.
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Any story you write about war, or film you make about war, is bound to be political whether you like it or not.
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You know, honestly, acting in film is remarkably independent. You're doing your thing and someone else is doing their thing.
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As a young man, even if I was going to see a play or a film by myself, I didn't feel like I was alone. There was something that was unfolding up there that brought me into it. And I recognised that. For those two hours, it made me feel like I belonged to something really good.
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One of the reasons the whole Hollywood way of making films wouldn't work for me is because the way I operate would be anathema to anyone who wants to hold a job down in Beverly Hills.
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The last film is always the most important.
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Three directors whose work directly influences mine are Paul Thomas Anderson, Darren Aronofsky and Susanne Bier (her Danish films). You'll notice that they all don't make feel good movies, same as me, and their films are always visually simple but beautiful (and I hope mine are!).
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Films are artifice. We're telling stories on film. At the same time, when it works, there is a real tough immediacy and spontaneity to it, and a punch.
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Basically, independent film doesn't exist anymore. It does if you have two or three stars in your film, but it's just very difficult.
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The embarrassing thing is that my salad dressing is out-grossing my films.
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You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.
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The Sixth Sense is not a good white film. Insomnia is not a good white film. They're just good films. So why we can't we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?
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It's a great privilege just to be in a film not because you're some packaging that some agent has done with the studio exec: "We need a John Travolta film."
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I just see myself as a guy who's trying to make a film or, make art.
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I'd rather be appreciated for my character in a film than my looks.
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We're not a manufacturer, or an airline, but we do use energy. Printing and publishing newspapers, producing films and television programs, operating 24-hour newsrooms. It all adds carbon to the atmosphere.
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Every film has to be the next something else; originality isn't celebrated because you can't market it.
