Quotes of All Topics . Occasions . Authors
I love 'River's Edge.'
Sundance is like a genre.
I wouldn't say that I was a Spider-Man super fan.
I think every kid is a 'Spider-Man' fan at some point.
'Clown' started as a fake trailer for a nonexistent movie.
I think it helps if you have a clear vision of what you want.
I only realized I could potentially make movies after seeing 'Ed Wood.'
I have a tendency to check out when the stakes are too high in a movie.
My attitude is one movie at a time. I don't want to get ahead of myself.
'Cop Car' was made with all of my friends. I wrote it with my best friend.
Talking to someone you have a crush on is as scary as fighting a super-villain.
Every film you see in film school takes on a heightened importance in your life.
I think 'Badlands' is my favorite movie because it reminded me of where I was from.
I was definitely the kid who was the chicken, who didn't want to say the cuss words.
That's why people love Spider-Man: he's the most grounded, relatable of superheroes.
A great thing about kids is they're just themselves and can't help it a lot of the times.
I feel like what we've done in 'Homecoming' is really scratching the surface with Spider-Man.
What's nice about having kids close to the age they're playing is that you can actually capture awkwardness.
There are so many great John Hughes movies covering so many different genres. You can pull so much from him.
People know the broad strokes of what it's like to be Spider-Man, but I wanted to really get into the details.
I love Cameron Crowe's 'Say Anything' and 'Almost Famous.' I think those are really great coming-of-age movies.
There's so many great coming-of-age movies to steal from, and I feel like I just tried to steal from them all equally.
I had no problem relating to Peter Parker. He feels like he might be in way over his head but is desperate to prove himself.
By having Spider-Man exist in the same universe as the Guardians of the Galaxy... C'mon, that opens up so many possibilities!
When you make a movie for a really low budget, it makes you really strict. You have to plan things down to the tiniest detail.
I liked writing with my friends and making our own little stories. Making a movie like 'Spider-Man' never even crossed my mind.
Big movie or small movie, you make this thing, and then you show it to people, and you just hope they like it. You hope it works.
It's such an amazing team working with both Marvel and Sony, and I have the support of just the very best technicians in the world.
'The Onion' is an amazing place to work because it's a bunch of really smart, collaborative writers who aren't afraid to try crazy things.
It doesn't matter whose idea it is or where it came from or when it arrived in the process. The best idea is the best idea no matter what.
I think the danger in trying to set too many things up or do too much world-building in a movie so soon is you forget to actually make a movie.
I've always been a very collaborative person, and I think 'Cop Car' and all the people I worked with who made it possible is a good example of that.
I wouldn't say I was a massive comic fan growing up, just because I now know people that really are, and I would never claim to be in that same category.
To me, the best comedies get a little dark, and the best thrillers are a little bit funny. So I'm not exactly sure where I draw the line between the two.
For me, there's a deeper genre appreciation for what a coming of age story can be about. To apply that to a superhero world, for me, that was very exciting.
There was a time when I just loved 'Indiana Jones' so much. I was in fourth or fifth grade, and I wore a fedora like that one to school every day. It was so dumb.
I've always pre-vized my movies, just on my own. Even when it was, like, zero-budget things, I used this programme to do storyboards because I can't draw that well.
If Spider-Man is your ground level superhero, I wanted to come up with a ground-level villain. I wanted to figure out if I could turn a regular guy into a super-villain.
Since being at Marvel, I've been watching everything over and over and over again, all the movies, and seeing how all the movies connect has been very satisfying for me.
When you're writing something to direct, you just write exactly what you're going to do. You don't have to write it in a way for other people to understand or interpret.
When you're getting to do what you want to do, you just assume you're going to hit a point where someone is like, 'No, you can't do that.' Strangely, that never happened.
I loved the idea of Spider-Man as a kid, and I loved the Todd MacFarlane run in the 1990s, and the first Raimi movies were released when I was in film school. Those were big.
You go to the movies to be transported. That's the responsibility of filmmakers and the people that hire the filmmakers - to try and find new dreams we can all share together.
'Welcome to the Dollhouse' is great. Even though it's about a girl in middle school, to me, that feels like the most honest reflection of what being a kid around that age feels like.
I didn't even think anyone would want to make 'Cop Car,' and then I didn't think anyone would want to distribute 'Cop Car,' and then I didn't think anyone would want to see 'Cop Car.'
The movie I made with my friends in my hometown based on a dream becomes a stepping stone to 'Spider-Man.' I wish I could say this was an amazing, calculated path but... It's so weird.
My friends and I have always been trying to make movies, at every moment. We've tried so many different angles and approaches. But when it happens, it happens, and you just run with it.
There's this great panel - I forget what the actual comic is - of Spider-Man in the rain holding an umbrella and eating some Chinese takeout. It's like, that's the essence of 'Spider-Man.'
Something I learned early on in my career is there's no use trying to fool anybody about what you want to do on a project where there are other people involved, rather than your own thing.
I think saying 'a John Hughes movie' is just shorthand for a lot of people to say 'a coming-of-age story,' because I think, when you're of a certain age, that's what John Hughes means to you.