Producers From The United States

"[It's a] really smart, faithful adaptation of the book. The book is such a tight page-turner… The character I play is an extreme guy… He's a killer. He wants to be Jesse James. He grew up watching cowboy and Indian movies and wants to be that. Then he meets Mickey Rourke's character, who's named The Black Bird and he wants to partner up with him and be a criminal and kill people. He's a psychotic and very bad guy… The thing about him is, he's not the bad killer, the kind of guy that sits and stews and then has these rageful outbursts. He is this extreme extrovert who never shuts up and tells you ridiculously tall tales about himself and mythologizes everything… Hyperactive, hyper, hyper guy wearing cowboy boots."

"I don't blame the people for the fact that so many movies are bad. I think there's a corrupt, perverted, lazy and sloppy attitude that's pervasive in the movie business. The whole entertainment business is kind of crumbling around us."

"I think the whole thing's changing a lot. The traditions of Hollywood are grand and great and are going to survive forever, in a way. But they're not going to be the only way for much longer. The technology is such now that you don't have to have millions of dollars to make a movie. You can make one with a computer. Like the Ze Frank show. I don't know if you know who that guy is, but at ZeFrank.com, he makes a couple-minute show every day. What he does is fucking great, and he does it all by himself. I think those lines between "behind the camera" and "in front of the camera," the lines between actor, writer, director, the lines between audience and performer… all those lines are kind of dissolving. And I'm real curious where it's going to lead."

"The cool thing about my character was that it’s not that digital. I get to put hours of prosthetic makeup on and see a different creature altogether. I’ve seen how he looks and it’s really cool."

"There's this barrier that goes up between the people who make the movies and the people who watch the movies. But the point of art is to have a connection between people. I think it's going to become much more of a dialogue, where everybody will watch everybody's stuff, as opposed to how it is now, where the huge corporations produce everything. I'm looking forward to seeing that."

"[hitrecord.org is my] alternative outlet of where I get to be a little less professional and just freak out a little bit."

"Sundance means a lot to me. This is my third one. People that come here who love movies. Everyone has the attitude that movies aren't just disposable entertainment - they can really mean something. I love that, because that's the way I feel about films."

"The Lookout was by far the hardest thing I've ever done. Partially because both Brick and Mysterious Skin were four to five week shoots, and The Lookout was nine or 10. So there's the marathon aspect, as well as the fact that Chris Pratt is having a harder go of it than either of the other two characters ever did. You know, waking up in the morning is difficult for him. Putting a sentence together is difficult for him. Getting dressed properly, driving a car, all these things. He can do them fine, but it's just much harder than it is for a normal person, so I had to try to make it hard for myself somehow. So it was challenging."

"Traditionally there's this barrier between the people who make movies and the people who watch them, and I think it sucks. Making Hollywood this castle on a hill and crowning actors the "Stars" might have been exciting and even brought people together last century, but now it's grown kind of disgusting in its excesses and it's no longer bringing people together—it's keeping people apart. It always turns my stomach a little when, because I'm in movies and on TV, people sometimes treat me as if I'm somehow different from, even above, a normal person. But the emails, posts, and comments I've been trading recently with people through those aforementioned sites cause me no nausea; they inspire me. There's no nasty status predicated on "Fame" or "Fortune." There's just that beautiful thing, the point of all art in the first place: a connection between one individual and another."

"Supermarket tabloids and celebrity gossip shows are not just innocently shallow entertainment, but a fundamental part of a much larger movement that involves apathy, greed and hierarchy. Celebrity doesn’t have anything to do with art or craft. It’s about being rich and thinking that you’re better than everybody else."

"To me, a sex scene in a movie generally means a gratuitous scene that doesn't serve the story but gives a kind of excuse—we've got these two actors, we want to see them naked, so let's bring in the music and the soft light. In Mysterious Skin, none of the sex scenes are like that. They all are about the process that this character is going through—and he grows from each of those scenes. You couldn't have told the story any other way. There's nothing to be embarrassed about. I would be embarrassed if I was like, "Shit, everybody wants to look at my ass.""

"My dad never blew anything up, but he probably had friends who did. He and my mom have always preached that the pen is mightier than a Molotov cocktail."

"Actors didn't use to be celebrities. A hundred years ago, they put the theaters next to the brothels. Actors were poor. Celebrities used to be kings and queens. Then the United States abolished monarchy, and now there's this coming together of show business and celebrity. I don't think it's healthy. I don't want to sound self-important, but all these celebrity shows and magazines—it comes from us, from Hollywood, from our country. We're the ones creating it. And I think it works in close step with a lot of other bad things that are happening in the world. It promotes greed, it promotes being selfish and it promotes this ladder, where you're a better person if you have more money. It's not at all about the work itself. Don't get me wrong. I love movies. But this myth of celebrity has nothing to do with movies."

"I didn’t really like doing commercials. You had to behave like you were on angel dust or something."

"I guess I have an eclectic taste [about (500) Days of Summer, G.I. Joe, and Uncertainty all in one year], I don't just like one thing. Contrast is key. What do they say? Variety is the spice of life. My favorite actors are the chameleons, guys like Daniel Day-Lewis, Billy Bob Thornton, Meryl Streep, people who are always different."

"Most scripts are bad. I read a lot of them. Brick was a good script just to read. It was like, “Oh my God, these words feel so good in my mouth.” A lot of movies try to set up a world with cool sets, costumes, camera work. In Brick, the world is born from the words."

"It's fascinating to watch a show develop from a script to a 22-minute comedy. I try to learn as much, and ask as many questions, as I can without being annoying."

"The most valiant thing you can do as an artist is inspire someone else to be creative."

"The cinematographer came up to me and said, 'You have to hit your mark exactly,'"

"I suppose the longer anyone spends on earth, the closer we all get to becoming superfluous characters."

"Wrote an adaptation for the Brothers Grimm's Little Red Riding Hood for 2011-10-31."

"Actually I've thanked you a lot of times so now I'm thanking you again."

"[Looper's] sort of a down-to-earth Blade Runner: it feels real. It's that style of sci-fi that could actually exist in 30 years."

"I just want to say thank you again to all you crazy motherfuckers who came out for hitRECord on Halloween - give me your records! I want to see your videos, I want to see your photos, and even more importantly, I love this stuff, remix it!"

"The PS3 is a total disaster on so many levels, I think It’s really clear that Sony lost track of what customers and what developers wanted."

"This isn't working."

"The original Half-Life took two years to create and Half-Life 2 took six years. That means Half-Life 3 would ship in approximately 2022. By which time we'll all be retired. With episodic content we can answer everybody's questions about what happened at the end of Half-Life 2, and we can do it in 18 months rather than 18 years."

"The programmers of tomorrow are the wizards of the future."

"The real world will feel dull, flat, colorless, blurry compared to the experiences you'll be able to create in people's brains. ...People are going to decide for themselves if they want to do it"

"We're way closer to The Matrix than people realize, It's not going to be The Matrix—The Matrix is a movie and it misses all the interesting technical subtleties and just how weird the post-brain-computer interface world is going to be.It turns out that your brain has really good interfaces for some things and really badly designed, kludge-y interfaces for doing other things. And, the fact that your immune systems gets involved in your perceptions of temperature means there are all sorts of weird parts of your brain that participate in the sensation of being cold, whereas things like your motor cortex or your visual cortex are much more tractable problems. And that's what I mean. We're going to learn a lot as we proceed as to what things work and what things don't, what things are valuable to people and what things are party tricks that don't really matter in the long run ... I think that it's an extinction-level event for every entertainment form that's not thinking about this."

"James is an ass, and we won't be working with him again."

"George Lucas should have distributed the "source code" to Star Wars. Millions of fans would create their own movies and stories. Most of them would be terrible, but a few would be genius."

"I'd like to thank Sony for their gracious hospitality, and for not repeatedly punching me in the face. If I seem a little nervous, it's because Kevin Butler was introduced to me backstage as the VP of sharpening things."

"You have to stop thinking that you're in charge and start thinking that you're having a dance. We used to think we're smart [...] but nobody is smarter than the Internet. [...] One of the things we learned pretty early on is "Don't ever, ever try to lie to the Internet – because they will catch you. They will de-construct your spin. They will remember everything you ever say for eternity.""

"C'mon, people, you can't show the player a really big bomb and not let them blow it up."

"Piracy is almost always a service problem and not a pricing problem. For example, if a pirate offers a product anywhere in the world, 24 x 7, purchasable from the convenience of your personal computer, and the legal provider says the product is region-locked, will come to your country 3 months after the US release, and can only be purchased at a brick and mortar store, then the pirate's service is more valuable. Most DRM solutions diminish the value of the product by either directly restricting a customers use or by creating uncertainty."

"Pa was forced to be a hobo Because he played the oboe And the oboe it is clearly understood Is an ill wind that nobody blows good"

"And why do I sew each new chapeau With a style they most look positively grim in? Strictly between us, entre-nous I hate women."

"I had a screenplay once where I was 90 pages in and I knew it was all over. I knew it was a disaster. And it was driving me crazy because the studio had gone down a path with me, so there was no getting out and I didn’t know how to go past these 90 pages. And then it all worked out—and the change which made it from absolute despair that there was no way to save it to it all working out was minute. But, but key. INTERVIEWER: Which screenplay was that? JAMES L. BROOKS: Uh, it was Terms of Endearment."

"There was a great director who directed a picture that I wrote who barred me from the set—quite appropriately—and said, “I’m sorry, Jim. When you’re directing, you don’t need to know everything. You need the illusion that you do.” And, you know, and I WOULD be there—behind him trying to signal the actors in, you know, in a way I wasn’t even aware of."

"I felt all kinds of pressure on myself...I didn't want to disappoint anybody. But that is nothing that compares to someone dealing with a health issue, so my shit is no big deal."

"I think it's really a good thing.... It's the best thing for the show, and I feel really good about it."

"Children are a house's enemy. They don't mean to be — they just can't help it. It's their enthusiasm, their energy, their naturally destructive tendencies."

"And a quick glance in the mirror turns out to be a mistake. Oh God, is that my face?"

"With any child entering adolescence, one hunts for signs of health, is desperate for the smallest indication that the child's problems will never be important enough for a television movie."

"Doyouwantogoona--Who is this? Oh, I have the wrong number."

"People go, "You’re so brave." I go, "No, I think I’m stupid" [...] It’s so strange to me because artists are free-thinkers, for the most part. You can be cooking meth and sleeping with hookers, as long as apparently you didn’t vote for Trump. I feel like I’m in The Twilight Zone a bit, with the whole concept of it."

"Just got a very kind acknowledgment [...] Thank you Sir, I wish you were still on Twitter... as you should be."

"You are not in business to be popular."

"The UFO research and investigation business is a cruel and shallow money trench, a long plastic hallway where thieves and pimps of corrupt ideology run free, agenda dictates, delusion is rampant and ignorance prevails. The infestation of wrongful motivation and the beggarly depths of belief reign supreme amidst a universal disregard for truth and factual actuality... where good men die like dogs. There's also a negative side . . ."