Quotes of All Topics . Occasions . Authors
I have a Google alert for myself - it's pure vanity.
I like being nostalgic and maybe crying a little bit.
There's no excuse not to make films on weekends with friends.
I question every move. I'm constantly second-guessing myself.
I'll do any kind of movie, as long as it's a good version of it.
When we saw the first cut of 'Wild Wild Country,' it was like, Wow.
I never thought about branding when we were starting our production company.
Nobody should be working 18 hours a day for a whole year or any period of time.
Somewhere in Time is in the top-five cheesiest movies ever made. Its super melodrama.
The only thing darker than 'Overboard' is 'Micki & Maude,' the bigamy comedy from 1984.
'Somewhere in Time' is in the top-five cheesiest movies ever made. It's super melodrama.
My favorite thing to do is put my headphones on and cruise around the old neighborhoods.
As the death of the middle class of film has happened, it has been re-birthed in television.
I'm really excited about public libraries that are redefining themselves as free learning centers.
We've shot with babies and kids and it was tough. It's not easy. It looks tangential, but it is not.
When you make a black-and-white movie with two people in it in 2016, you're taking a swing at something.
We allow the actors to do whatever they need to do or say to accomplish the goals that they want to accomplish.
Making movies that are really cheap and that can be owned and that you maintain your control of is really exciting.
I have family, I work with a lot of friends, but you'll never find me saying, "Hey, let's get a drink at 8:30 [pm]."
You know, I watched the original 'Same Time, Next Year' on DVD about ten times this year, and I cried all ten times.
I think that 'Room 104' offered us an organic opportunity to tell all kinds of stories with all kinds of protagonists.
They're each on separate coasts but I think that the deep Maine woods shares some similarities to the Pacific Northwest.
Obviously we know Bill Hader is funny and charming, but my question is, can he do raw humanity and naturalism? I think so.
I selfishly like a lot of first-time directors because they over-prepare, they're super eager, and there's very little ego.
I want 'Like Brothers' to answer young kids who ask, 'How could I possibly become a filmmaker?' This book will step that out for you.
A lot of solo directors have a really strong creative producer with them. Jay and I have less of a need for that because we have each other.
At the risk of saying you should make a self-indulgent film for your first movie: you should make a self-indulgent film for your first movie.
I really believe in constantly trying to find and support new ways of watching independent art, because the old ways are not working as well.
As an actor, when you walk into a room to audition, you get five minutes with a casting director, who doesn't even look at you, most of the time.
I am not afraid to admit, though slightly ashamed that I Google myself and I see people writing things about me and I get really proud and happy.
In particular, what I loved about 'Creep' and 'The One I Love' was the combination of naturalism, horror, and comedy that felt kind of new and fun.
Not all movies are movies you want to spend $14 on - and not all movies are movies you want to spend $10 on for ultra VOD, or even $6.99 on renting.
When you're improvising, it's fun to find something that you can lean on that is similar to your life experience. In my opinion, that's very helpful.
I know, we can barely fit them in. That is a big challenge. Treating four lead characters equally, within a 30-minute format, is definitely challenging.
If we have anything to offer, as filmmakers and as TV makers now, it's this ability to feel as close to a documentary as you can get in a narrative form.
For us, performance is everything. If we can get great actors in there who like us, and we really like, we feel pretty confident that we can make a movie work.
No one can stop you from doing exactly what you want to do. If you can accept that the cavalry won't come, and if you can be the cavalry, it gives you a chance to be happy.
Going to the theater, spending tons of money, people are losing money doing that. I'm really interested in my kinds of movies being seen as many people as possible on a TV.
And, there are negatives and positives to it. Like, you know, just like a marriage, where you're like, "Well, this... you know, is the sex still as exciting as it was two years ago?"
I'm not someone who feels that unless I am anxious or depressed, there will be no creative drive. My greatest desire in the world is that my desperation goes away, and I can be happy.
I'm a narrative-minded actor. I'm thinking of the story. I'm not worried about whether the camera is on the right side of my face, or where the camera is. I'm just going for the story.
A TV show is an open universe, whereas a film is more of a closed universe. No disrespect to movies, there's just a lot of artifice in closing out emotional storylines after 90 minutes.
'The One I Love' came out in theaters for the enthusiasts and did a chunk of business on VOD. But when it started streaming on Netflix, it exploded. Same thing with 'Safety Not Guaranteed.'
I mean, it really has a lot to do with who is actually physically doing a lot of talking. And we've just noticed that as we've evolved we're still making all the decisions from this, like, "cave."
You're taught - consciously or sub-consciously - to make an indie so you can get through that terrible process and get to Hollywood. I realized when I got there, 'Oh, no; I think I'm better over here.'
I'm interested to see what happens to Spike Lee with limited resources, you know? I love Spike Lee's movies. But you know what? I kinda liked his movies when he used to scramble and fight more for them.
Jay [Duplass] and I normally just sit around and people watch, and we talk about things that are happening in our lives, or with people that we've met. That's the soup from which our movies usually come from.
Well, I'll be honest with you, sometimes you don't know you're playing a moment that's going to be in a montage. Sometimes it's a scene that didn't work out the way you hoped it would be and ends up in a montage.
A lot of it is found in the editing room and part of that is due to some of the improvisational tactics we employ on set. Part of it is that the shot goes a little bit long and they end up coming down to fit time.
I played acoustic guitar so intensely, for so long - for nine hours a day as a 10-year-old, writing songs through the night, on tour constantly from when I was 19 - that I destroyed my arms and shoulders in the process.