If movies have to satisfy every possible quadrant before they're even made, they're dull. You only get great things when people overreach themselves.

I hoped that grief was similar to the other emotions. That it would end, the way happiness did. Or laughter.

Is it fair to have given us the memory of what was and the desire of what could be when we must suffer what is?

For me, the filmmaking has to be about the dramaturgy.

Films have gotten leaner and leaner, cutting out all variations from the story line.

Never make a promise - you may have to keep it.

Initially with The Butcher Boy, there was this kid growing up in this strange, weird environment that I remember from when I was a kid. And Patrick's vision was so complete there.

Well, Company of Wolves was about that literally, about fairy tales.

My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.

There's no point in making a film out of a great book. The book's already great. What's the point?

I'm less comfortable making American movies because I don't know them so well.

Children learn to smile from their parents.

What is all our knowledge worth? We do not even know what the weather will be tomorrow.

I look like everyone else.

We all suffer alone in the real world; true empathy's impossible.

Real men don't buy girls-they protect them. We're recruiting real men who have the courage to stand up against this issue.

When people are finding meaning in things -- beware.

I think music as we know it, is autobiographical.

People have to decide, first of all, how they'd like to live, and how secure they want to be from disaster. After that, scientists can help determine what would be necessary to achieve that.

I lived on rum, I tell you. It's been meat and drink, and man and wife, to me.

If we do not feel grateful for what we already have, what makes us think we'd be happy with more.