Quotes of All Topics . Occasions . Authors
Horses terrify me.
America is so diverse.
I do make films for personal reasons.
People like a bit of honesty in films.
I was not a happy teenager in the slightest.
I like going to a new environment with open eyes.
When you make a film, everyone wants to define it.
I haven't got muscles, and I don't live in West Hollywood.
I don't believe in 'happy ever after' at all as a concept.
When I was growing up, I was watching fairly standard American cinema.
I feel like, throughout lots of my life, especially growing up, I felt powerless.
The longer you get in a relationship, the harder it becomes to confront problems.
I didn't enjoy growing up. I was lonely. That's probably my base level to feel like that.
I would certainly not support Trump in any way shape or form, but I want to have sympathy.
Whoever my films are about, they'll hopefully still have my sensibility, whatever that is.
Lots of shows get cancelled, and then they never get to end their stories. It's just over.
I rode a horse once when I was young, and I fell off. I never wanted to ride a horse again.
I'm interested in how we understand ourselves in our relatioships and how we define ourselves.
With supporting roles, you just want really good actors that can make it bigger than what's there.
We can all understand that feeling of being alone in the world trying to find ways to not be alone.
Homophobia obviously still exists, but it is a lot more subtle, and it is a lot more in the background.
If you don't open your eyes to other people's lives, you can't even begin to understand how the world works at all.
For me, it's very important that shows about gay people are messy and complicated and are truthful about what we do.
Men are both bad and awful. And women are both bad and awful. And they can both be good and wonderful on both sides.
I always quite like the idea of casting against type when I'm looking for and trying to understand who a character is.
It's always important to try and get a real sense of the world around my characters. I especially think it helps actors.
I'm really bad at knowing if something I've done is any good. I can't work it out; I can't be objective about anything I do.
When I made 'Weekend,' the idea that 'Moonlight' would win the Oscar would be like, Whaaaaat? Like, that's not going to happen.
I think all of my male characters, I suppose, in all of my films, they're not necessarily the traditional version of masculinity.
I wanted to make films since I was young. My background had nothing to do with anything creative, so it seemed an impossible task.
In the end, with all of my films, I want to understand the continuity between these films and understand what they're trying to do.
It's always very important that you can completely disagree with someone, but it doesn't fundamentally mean that they are bad people.
I'm happy to do gay material, and I'm gay, and I'm not embarrassed about it, but it's nice not being limited to only doing gay material.
I went through a period of watching probably too many Bergman films in a row. I felt like I'd discovered the answer to what cinema should be.
There's something about film that offers this opportunity to stick to a very, very clear single protagonist's point of view, and I like that.
We pass people in the street and ignore them when they're clearly suffering. It makes you wish we could all feel when someone needs something.
Our past absolutely defines everything we do in the present. We can't help it. We're made by the events of our past, so there's no escaping it.
In my own life, my parents divorced when I was young. I lived with my dad, not with my mum, after they got divorced. And it's been part of my life.
The reality of our lives is never like what you see in those romantic comedies or dramas. Things don't always end good. Things don't usually end good.
I am fascinated by that person who is trying to live authentically, but they are on the outside of society, so how do they manage in the world around them?
SXSW can feel very male, very straight, and very white, and though it's a great festival, when you have a film that's different, it's hard to find your place.
I think there's always a conflict within me about being comfortable and secure and then being an individual and fighting for what I want to be on an individual basis.
I'm not very good at thinking, 'This is the thing I should do now to help my career.' I mean, I want to keep my career going, but that's not what draws me to a story.
I'm gay, and I know a lot of very liberal straight people, and, of course, they're absolutely fine, but they still won't necessarily come and see a film like 'Weekend.'
You work really hard on something, and you know you can't always make great work. It just doesn't happen like that, I don't think, at least not for most people, anyways.
My influences are all over the place. Different films have spoken to me at different times in my life, and they've helped create my idea of the kind of films I want to make.
It fails everybody, pretty much, the American Dream, but people are driven by it. I don't think we're driven by the same sense of hope in Europe. We're driven by pessimism more.
I think people do like extremes in cinema. There are very few films told about everyday middle-class couples, which is odd to me, as there are a lot of everyday middle-class couples.
'Looking' was always a niche show for a niche within a niche. It's a gay-themed show, so you're not going to get millions of straight people watching it - that's the inevitability of it.
I have seen a lot of gay-themed films that didn't really express how I see being gay at this moment in the world. There never seemed to be a kind of authentic depiction of relationships.