Film Directors From The United States

"NRA members are in city hall, Fort Carson, NORAD, the Air Force Academy and the Olympic Training Center. And yes, NRA members are surely among the police and fire and SWAT team heroes who risked their lives to rescue the students at Columbine. "Don't come here"? We're already here. This community is our home. Every community in America is our home."

"Thank you all for coming and thank you for supporting your organization. I also want to applaud your courage in coming here today. Or course, you have a right to be here. As you know, we've cancelled the festivities, the fellowship we normally enjoy at our annual gatherings. This decision has perplexed a few and inconvenienced thousands. As your president, I apologize for that. But it's fitting and proper that we should do this. Because NRA members are, above all, Americans. That means that whatever our differences, we are respectful of one another and we stand united, especially in adversity. I have a message from the mayor, Mr. Wellington Webb, the mayor of Denver. He sent me this and said, "Don't come here. We don't want you here." I said to the mayor, well, my reply to the mayor is, I volunteered for the war they wanted me to attend when I was 18 years old. Since then, I've run small errands for my country, from Nigeria to Vietnam. I know many of you here in this room could say the same thing. But the mayor said "Don't come." I'm sorry for that. I'm sorry for the newspaper ads saying the same thing, "Don't come here." This is our country. As Americans, we're free to travel wherever we want in our broad land."

"Telling us what to think has evolved into telling us what to say, so telling us what to do can't be far behind. Before you claim to be a champion of free thought, tell me: Why did political correctness originate on America's campuses? And why do you continue to tolerate it? Why do you, who're supposed to debate ideas, surrender to their suppression? Let's be honest. Who here thinks your professors can say what they really believe? It scares me to death and should scare you too, that the superstition of political correctness rules the halls of reason. You are the best and the brightest. You, here in the fertile cradle of American academia, here in the castle of learning on the Charles River, you are the cream. But I submit that you, and your counterparts across the land, are the most socially conformed and politically silenced generation since Concord Bridge. And as long as you validate that ... and abide it ... you are — by your grandfathers' standards — cowards."

"Political correctness is tyranny with manners."

"You could say that the paparazzi and the tabloids are sort of the "assault weapons" of the First Amendment. They're ugly, a lot of people don't like them, but they're protected by the First Amendment — just as "assault weapons" are protected by the Second Amendment."

"Now, I doubt any of you would prefer a rolled up newspaper as a weapon against a dictator or a criminal intruder. Yet in essence, that is what you have asked our loved ones to do, through an ill-contrived and totally naive campaign against the Second Amendment."

"I simply cannot stand by and watch a right guaranteed by the Constitution of the United States come under attack from those who either can't understand it, don't like the sound of it, or find themselves too philosophically squeamish to see why it remains the first among equals: Because it is the right we turn to when all else fails. That's why the Second Amendment is America's first freedom."

"You do not define the First Amendment. It defines you. And it is bigger than you. That's how freedom works. It also demands you do your homework. Again and again, I hear gun owners say, how can we believe anything the anti-gun media says when they can't even get the facts right? For too long, you have swallowed manufactured statistics and fabricated technical support from anti-gun organizations that wouldn't know a semi-auto from a sharp stick. And it shows. You fall for it every time."

"Let me make a short, opening, blanket comment. There are no "good guns". There are no "bad guns". Any gun in the hands of a bad man is a bad thing. Any gun in the hands of a decent person is no threat to anybody — except bad people."

"Charlton Heston once told me that getting ahead in acting was more a matter of luck than talent and skill; but then he hastily amended that. "What I meant," he said, "was that there are a lot of skillful and talented people out there, far more than the industry can absorb, so that it takes luck, at least one good break, to rise above the crowd. However, if you haven't done your homework and developed your skills, one good break won't do you any good because you won't be able to exploit it.""

"I've had different opportunities in my life, but I've tried to maintain the spirit of an amateur. Our culture roots everything in the barometer of success and how much money you make. But if you really just aspire to a life in the arts, it's really not a barometer at all."

"The thing that really breeds career longevity in this profession is doing good work. You can make $20 million a movie, but does that mean you'll still have a job when you're 60? It's a profession that eats people up and wants constant turnaround, so you have to dedicate yourself to learning and making the most of whatever gift you may have."

"If I say this people will think I'm kidding, but I learned so much about acting working with those wolves on White Fang. If I were to run Juilliard right now, I would make them take a class where they worked with animals. Animals don't know how to lie, so you have to just be with them. Whenever you act weird, or seem like you have an agenda, or are worried about what your hair looks like, they leave the set. They're not interested."

"When I was younger I really admired people like Warren Beatty who could do one movie every four years. I thought I could do all that: run a theatre company, write a book, make the occasional movie. But life doesn’t work like that, or at least it only does for one or two people every generation. Usually, there’s a little give and take, you know. It took me a long time to realise that I didn’t understand things as well as I thought I did."

"I don't understand the world. I don't understand why some people have to suffer so much and others don't. I don't understand the unfairness of all that - I can't wrap my brain around it. Seems like it should be the opposite, like global warming should make Haiti discover that they have the secret plant that makes them all rich, because they've suffered enough, those people."

"We live in a funny time. If you don’t go corporate, you can’t compete. You’re relegated as irrelevant. People used to admire that. There used to be something badassed and poetic about it."

"Seeing the play (A Lie of the Mind) clearly is part of why I wanted to direct it. I see hope at the end of this play. People talk about how dark the play was, but I feel like, if you really look at the darkness, you’re able to go through it, and you realize that you can handle dark moments in life and that everything will be all right."

"In grade school they say you have to pick a profession and stick to it... and people stop looking at their lives as a work in progress. If you don't stay in touch with yourself, you kind of lose focus. If you're going to spend a life in the arts, you need to be infused with a sense of gratitude and a sense of wonder. It's a privilege to do this profession. But there is a payment you have to make for that privilege, which is to do your best all the time."

"It's its own form of cinema, it's its own entity. I think Chekhov would like Before Sunset because it's all about nuance. Any decent screen-writing school would throw that script out. There's no beginning, middle and end, it's completely fluid, just chasing the nuance of life, and kind of believing whatever God is lives in this kind of energy that flows between all of us. I kind of live for that, for that chance that you might get another opportunity to be a part of something like that."

"The older you get, the humbler you get. I know I don't have that much to offer, and I know I've now read Moby Dick and Anna Karenina, and if I had read those books before I wrote The Hottest State, I don't think I'd have published it. I had the arrogance of the uneducated, which sometimes you need."

"One of the most difficult aspects of being an actor is trying to find the right work. Work that speaks to an audience, that you enjoy doing and that is reflective of your artistic sensibility. To be a contemporary movie actor, you have to kill people - that's basically it. If you don't cock'n'load'n'fire a Smith&Wesson at some point in your film career, you're not going to have a film career. There just aren't enough movies that I like to keep me working in movies all the time. Well, let me rephrase that: there aren't enough available parts."

"I was really nervous to read it because I really wanted to like it, you know, 'cause I've had this problem in my life before. I'll get offered something by people I respect and want to work with, but I can't pretend I like it... Hank's just a horrible guy and he's so sad, and he hates himself and he never does the right thing. But I had to admit that it was kind of the challenge I was looking for."

"What I love about Celine, what I felt really proud about that script, is that she's really a fully dimensional woman. It's very rare in movies that you don't see a male projection of a fantasy woman. I mean, Julie deserves 90% of the credit, 100% of the credit, but I feel proud of the collaboration that created that character. Her work in that movie is my favorite thing about it."

"Writing the book (The Hottest State) had to do with dropping out of college, and with being an actor. I didn't want my whole life to go by and not do anything but recite lines. I wanted to try making something else. It was definitely the scariest thing I ever did. And a huge learning experience about how not everybody's going to like you, or like what you do. And you have to ask yourself, is it worthwhile? Or am I just doing it to be liked? And it was just one of the best things I ever did. The second book (Ash Wednesday) was so much more fun because of that. The first was just a novelty act, like, 'The kid from Reality Bites wrote a book? Who does he think he is?' And I understand that."

"...But the truth is, I've never wanted to be a movie star - and I've been pretty clear about that."

"People look at your life and see things as a big deal that aren't a big deal to you. What I mean is, the chapter breaks are different for me. I'll read about my divorce, and what people think about it, and, well, it's so inaccurate, usually, but the fact is, I wouldn't want it to be accurate. Because it's my truth. When I was younger, it was more important to me to come off well. Now, I just want to try to be good at what I do."

"All that stuff with the tabloids is a kind of luxury tax I pay for all the good things I do in my life."

"You have to express yourself. And to express yourself, you have to know yourself. It's actually super easy. Just have to follow your love."

"I think what I meant, particularly as a young actor, is that you really struggle with the sense of being undeserving of the attention. And you're right. It happens all the time, there's some new young actor who people are gonna put on the cover of magazines and will talk about, and all you did is say 15 lines in a movie. You know, it's not like you started Greenpeace or something. They don't even put the guys who started Greenpeace on the cover of a magazine... So you understand the sense of fraudulence, and it's attached to yourself, you know? And that's what I was struggling with."

"People love actors. They love reading about them and thinking about their lives. But they also secretly hate them. They think their lives are frivolous and all they do is go to parties, and they don't know real problems... There's something at the root of our love-hate relationship with celebrity that I think has the makings, if you could do it in a really substantive way, of a great modern American novel."

"One of the things that's great about Training Day is that you have two very distinct personalities, but it's true: it also has a great plot. If you can do both, it's incredibly exciting for the audience. Oftentimes, you have art films that have no narrative to speak of and instead offer characterization; then you have mainstream movies that are simple formulas, A-B-C-D. Training Day is a good combo."

"I never thought that I would be labeled something like Generation X because of that movie (Reality Bites). I had no idea going into it, and it wasn't a label I could relate to."

"The experience on that movie (Dead Poets Society) was, for lack of a better term, life-altering. Peter Weir has a unique talent for making movies that are intelligent but also mainstream. I've never been terribly successful at doing that."

"A lot of American actors when they do Shakespeare put on a phoney English accent and it drives me crazy. You're always fighting against the idea that only the British know how to do Shakespeare."

"... style without substance is nothing, the substance in the story was the most important thing. Of course, there is a layer of style. If I were a director working in a different era, I would have had to be at MGM. I don't think I'd probably know how to make anything but enhanced reality, because that's what comes naturally to me."

"You can only make the slit so much higher, the stiletto so much taller."

"I believe in a parallel universe of image and fantasy that isn't so much fantasy as it is forever sealed in films and things that have entertained us for years. This parallel universe has influenced me perhaps even more than the real world or the physical world. Because when I think of certain things, like a beautiful woman, its most likely someone I saw on film... these are things I've been taking from film or television and applying it to real life."

"I guess I'm hyper-self-conscious about people thinking that I'm egotistical, but there's a difference between being egotistical and knowing your value as a product and an actor. I know my value as a product, and I've divorced myself as a human from myself as a product."

"When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned...but that's the point."

"Sweetheart, I'm the biggest ripped-off cartoonist in the history of the world, and that's all I'm going to say."

"Sick of Hollywood, tired of fighting and selling out as an artist. I don't believe anyone should do the same thing for the rest of his life. We get a very short time on this planet. Challenging oneself is very important. It's not that I couldn't make other great animated films, but I'd done what I wanted to do, which was make animation an adult medium, if one wanted it to be. And I'd proven to myself that it could work, and it was time to move on to something else. When I sell a painting, I get very excited. I need one person to like what I do, not a million. It's a different structure here. Plus the Hollywood thing. I mean, Hollywood is no place to grow up, no place to live. It's no place to have any friends, no place to enjoy life. It's a disgusting, horrible, craze-driven town. It's only how much do you make, or how fancy a car you have, that determines your status there. And everyone's lying so much that they don't even know they're lying anymore. There's no reality to Hollywood. The fees they pay directors are obnoxious, the money they spend on movies could feed entire starving African... I mean, fuck 'em. I made a few bucks and got out. I don't want to spend the rest of my life with those people. They're disgusting people, and you can quote me on that. There's a lot of great talent there, but it's no place I wanted to spend much time. I'd rather spend time with Rembrandt and Goya at home. They're better company than those schmucks who never read Lord Of The Rings."

"Wizards was about the creation of the state of Israel and the Holocaust, about the Jews looking for a homeland, and about the fact that fascism was on the rise again, I thought. That was way before the Right Wing made their appearance again, and I felt that things were shifting back. So on that level, Wizards was a very personal film."

"Did I have a responsibility to discuss issues? Absolutely. Bobby Dylan was discussing issues – Disney wasn’t."

"Four guys could get together and make their own movie, in a year, but nobody does it 'cause they got bills to pay. What I'm saying is, that's what I would do, if I was young. I wouldn't even get a job. I'd get a couple of computers and a bunch of guys, we'd eat crap for a year, millionaires the next year if we did a good film. It's so extraordinary. Instead of crying about getting a job at Disney or "things are falling apart", things the old animators were doing when I was a kid, "it's all crumbling!" It's not crumbling, you're crumbling! You got these computers that could do this stuff for nothing! What do you do with it? You try to get a job for some asshole studio. It's so dumb."

"Watch his beautiful, compact body as it pirouettes or pretzels in tortured permutations or, even more elegantly, stands in repose as everything goes crazy around it. Watch his mind as it contemplates a hostile universe whose violent whims Buster understands, withstands and, miraculously, tames. Watch his camera taking his picture (Keaton directed or supervised all his best films); it is as cool as the star it captured in its glass... The medium was still in its infancy; comics were pioneering the craft of making people laugh at moving images. Keaton, it turns out, knew it all — intuitively."

"The screen was just a white sheet. They had this flickering machine. That was the first time I saw this angel with a white face and these beautiful eyes. I knew this was something special. It was the first time I saw Keaton. He wore a flat pancake of a hat, and I just couldn't believe the man's grace."

"The older Keaton got, the more one could see eternity in his look."

"No other comedian could do as much with the dead-pan. He used this great, sad, motionless face to suggest various related things; a one track mind near the track’s end of pure insanity; mulish imperturbability under the wildest of circumstances; how dead a human being can get and still be alive; an awe-inspiring sort of patience and power to endure, proper to granite but uncanny in flesh and blood."

"He was by his whole style and nature so much the most deeply "silent" of the silent comedians that even a smile was as deafeningly out of key as a yell. In a way his pictures are like a transcendent juggling act in which it seems that the whole universe is in exquisite flying motion and the one point of repose is the juggler’s effortless, uninterested face."

"Perhaps because ‘dry’ comedy is so much more rare and odd than ‘dry’ wit, there are people that never much cared for Keaton. Those who do cannot care mildly."