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When you don't have much money, you get creative. There's so much money that gets wasted on big movie sets. But when you don't have much money, you improvise.
We work in an environment where your options are to do, you know, Batman 10, so when you get to do a movie that's a really great film like this, people really step up to the plate and enjoy it.
I never went to a John Wayne movie to find a philosophy to live by or to absorb a profound message. I went for the simple pleasure of spending a couple of hours seeing the bad guys lose.
Even on a $100 million film, people will complain that they haven't got enough money and enough time, so that's always going to be an element in filmmaking.
I'll watch a movie only if it meets the following criteria: 1. It has to have at least two women in it. 2. Who talk to each other. 3. About something besides a man.
You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!
We wouldn't pay to rent and watch the same painful movie two hundred fifty times, but somehow we let our mind replay a bad memory over and over, each time experiencing the same distress and shame.
You write who you are. But you also cheat, and youwrite what you want to be. It's embarrasing to be the guy who madethe movie, knowing you're not exactly who you want to be.
Hollywood is right. A good and strong movie can have a more powerful social impact than any and all political speeches or newspaper editorials and columns.
One of the biggest challenges in my job is letting go of the movie once you go home at night, and knowing you can't do anything to your performance once you've laid it on film.
I am scared easily, here is a list of my adrenaline - production: 1: small children, 2: policemen, 3: high places, 4: that my next movie will not be as good as the last one.
I think title sequences are an opportunity to sort of set the stage or to get people thinking in different terms than maybe whatever they understand the movie to be going in.
You pay to have a good time, you don't always want to pay to be schooled or sad or reminded how bad you got it. To me a movie theater ain't always the place for that.
There is a time for scientists and movie stars and those who have flown the atlantic to restrain their opinions lest they be taken more seriously than they should be.
Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.
The geniuses who conduct the motion-picture business killed glamour when they decided that what the public wanted was not dream stuff, from which movies used to be made, but realism.
I bought the book, One Flew Over the Cuckoo's Nest. I paid to have it made into a play and I played in it for six months. I came back and I tried to make it into a movie, without success.
I used to want to be a movie star so I wouldn't have to live in trailers anymore. And now that I make movies, I spend a lot of my life living in trailers.