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The only thing that does change, to some degree, is [that] you have some life experiences, you suffer a certain amount and you incorporate that into your work. Not in the content of your work, but in the sensibility of your work. It's nothing that you try and do; it just happens. And if you're lucky, people buy tickets to see it, and if you're not lucky, [then] they don't like it. But that's all.
What people who don't write don't understand is that they think you make up the line consciously — but you don't. It proceeds from your unconscious. So it's the same surprise to you when it emerges as it is to the audience when the comic says it. I don't think of the joke and then say it. I say it and then realize what I've said. And I laugh at it, because I'm hearing it for the first time myself.
I've never felt Truth was Beauty. Never. I've always felt that people can't take too much reality. I like being in Ingmar Bergman's world. Or in Louis Armstrong's world. Or in the world of the New York Knicks. Because it's not this world. You spend your whole life searching for a way out. You just get an overdose of reality, you know, and it's a terrible thing. I'm always fighting against reality.
These were always obsessions of mine, even as a very young child. These were things that interested me as the years went on. My friends were more preoccupied with social issues - issues such as abortion, racial discrimination, and Communism - and those issues just never caught my interest. Of course they mattered to me as a citizen to some degree...but they never really caught my attention artistically.
The man who said 'I'd rather be lucky than good' saw deeply into life. People are afraid to face how great a part of life is dependent on luck. It's scary to think so much is out of one's control. There are moments in a match when the ball hits the top of the net and for a split second it can either go forward or fall back. With a little luck it goes forward and you win. Or maybe it doesn't and you lose.
I think Bergman's films have eternal relevance, because they deal with the difficulty of personal relationships and lack of communication between people and religious aspirations and mortality, existential themes that will be relevant a thousand years from now. When many of the things that are successful and trendy today will have been long relegated to musty-looking antiques, his stuff will still be great.
End production today. Wrap party as usual a little sad. Slow danced with Scarlett. Broke her toe. Not my fault. When she dipped me back, I stepped on it. Penélope [Cruz] and Javier [Bardem] anxious to work with me again. Said if I ever come up with another screenplay to try and find them. Goodbye drink with Rebecca [Hall]. Sentimental moment. Everyone in cast and crew chipped in and bought me a ballpoint pen.
Events unfold so unpredictably, so unfairly, human happiness does not seem to be included in the design of creation. It is only we, with our capacity to love that give meaning to the indifferent universe. And yet, most human beings seem to have the ability to keep trying and even try to find joy from simple things, like their family, their work, and from the hope that future generations might understand more.
Pale, nervous girls with black-rimmed glasses and blunt-cut hair lolled around on sofas, riffling Penguin Classics provocatively. [...] But it wasn’t just intellectual experiences—they were peddling emotional ones, too. For fifty bucks, I learned, you could “relate without getting close.” For a hundred, a girl would lend you her Bartok records, have dinner, and then let you watch while she had an anxiety attack.
I've never had a block. I'm talking within the limits of my abilities. But in my own small way, I've had an embarrassment of riches. I'll have five ideas and I'm dying to do them all. It takes weeks or months where I agonize and obsess over which to do next. I wish sometimes someone would choose for me. If someone said, Do idea number three next, that would be fine. But I have never had any sense of running dry.
It seems to me that making escapist films might be a better service to people than making intellectual ones and making films that deal with issues. It might be better to just make escapist comedies that don't touch on any issues. The people just get a cool lemonade, and then they go out refreshed, they enjoy themselves, they forget how awful things are and it helps them - it strengthens them to get through the day.
Throughout history in the theater and film people do like sarcastic characters, and they do like curmudgeons - if they're amusing, they do like them despite the fact that they're vitriolic, particularly if they're for the right thing. If you can see that the person is a decent person and is for the right thing, and is not just a nasty person with base motives, but someone who is a decent human but expresses himself.
It's a wonderful thing to be able to create your own world whenever you want to. Writing is very pleasurable, very seductive, and very therapeutic. Time passes very fast when I'm writing-really fast. I'm puzzling over something, and time just flies by. It's an exhilarating feeling. How bad can it be? It's sitting alone with fictional characters. You're escaping from the world in your own way and that's fine. Why not?
As an artist, you are always striving toward an ultimate achievement but never seem to reach it. You shoot a film, and the result could have always been better. You try again, and fail once more. In some ways I find it enjoyable. You never lose sight of your goal. I don’t do my job to make money or to break box office records, I simply try things out. What would happen if I were to achieve perfection at some point? What would I do then?
Life is tough and it's tough whether you're famous or not famous. And in the end it's probably better to be famous because the perks are better. You get better seats at the basketball game, and you get better tables and reservations places. If I call a doctor on Saturday morning I can get him. There's a lot of things, indulgences that you don't get, if you're not famous. Now I'm not saying it's fair. But I can't say that I don't enjoy it.
I'm sure there are people in Hollywood, whose main drive in film is to make money, who will feel that any use of the word hijacking or any reference to anything violent or remotely associated with the terrible tragedy that occurred will lose customers for them. And that will be the only criterion that will matter and so they'll force the minions that work for them to remove these things from their movies, or not make movies about that subject.
More than at any other time in history, mankind faces a crossroads. One path leads to despair and utter hopelessness. The other, to total extinction. Let us pray we have the wisdom to choose correctly. I speak, by the way, not with any sense of futility, but with a panicky conviction of the absolute meaninglessness of existence which could easily be misinterpreted as pessimism. It is not. It is merely a healthy concern for the predicament of modern man.
Retirement is a very subjective thing. There are guys I know who retire and they're very happy and they never miss work at all. I can't see myself retiring and fondling a dog every day. I like to get up and work and go out. I have too much energy or too much nervous anxiety or something. So I don't see myself retiring. Maybe I will suddenly get a stroke or a heart attack and I will be forced to retire, but if my health holds out I don't expect to retire.
That’s one of the nice things about writing, or any art; if the thing’s real, it just lives. All the attendant hoopla about it, the success over it or the critical rejection—none of that really matters. In the end, the thing will survive or not on its own merits. Not that immortality via art is any big deal. Truffaut died, and we all felt awful about it, and there were the appropriate eulogies, and his wonderful films live on. But it’s not much help to Truffaut.
During the course of the year a number of ideas just come up automatically. I could be walking down the street. Or shaving. An idea will hit me and I'll write it down. Then, when I'm ready to write, I check my little matchbooks and napkins and find that it is good or it's pretty terrible. There are other times when I don't have any ideas and I'll go into a room and close the door and I sit and sweat it out for a day or a month and eventually I come up with [something].
You will notice that what we are aiming at when we fall in love is a very strange paradox. The paradox consists of the fact that, when we fall in love, we are seeking to re-find all or some of the people to whom we were attached as children. On the other hand, we ask our beloved to correct all of the wrongs that these early parents or siblings inflicted upon us. So that love contains in it the contradiction: The attempt to return to the past and the attempt to undo the past.
I would not like to live in the past because you don't get anesthetic when you go to the dentist. You don't get antibiotics. You don't get the things that you are used to now, cell phones and televisions and things that are very convenient. You don't want that. But, it would be fun if you could, every now and then, just meet a friend for lunch at Maxim's in Paris in 1900, or go back to 1870 just for a couple of hours, take a walk in the park, and then come right back to Broadway.
Bisexuality doubles your chances of a date on a Saturday night. I believe that sex is a beautiful thing between two people. Between five, it's fantastic. If there is reincarnation, I'd like to come back as Warren Beatty's fingertips. I'm such a good lover because I practice a lot on my own. My love life is terrible. The last time I was inside a woman was when I visited the Statue of Liberty. Sex without love is an empty experience, but as empty experiences go it's a pretty good one.
What if the worst is true? What if there's no God, and you only go around once, and that's it? Don't you want to be a part of the experience? You know, what the hell? It's not all a drag, and I'm thinking to myself: Geez! I should stop ruining my life searching for answers I'm never gonna get and just enjoy it while it lasts. And, you know, after-who knows? Maybe there is something, nobody really knows. I know that maybe is a very slim reed to hang your whole life on, but that's the best we have.
Twenty-one years ago, when I first heard Mia Farrow had accused me of child molestation, I found the idea so ludicrous I didn't give it a second thought. We were involved in a terribly acrimonious breakup, with great enmity between us and a custody battle slowly gathering energy. The self-serving transparency of her malevolence seemed so obvious I didn't even hire a lawyer to defend myself. It was my show business attorney who told me she was bringing the accusation to the police and I would need a criminal lawyer.
I feel that humor, just like Fred Astaire dance numbers or these lightweight musicals, gives you a little oasis. You are in this horrible world and for an hour and a half you duck into a dark room and it's air-conditioned and the sun is not blinding you and you leave the terror of the universe behind and you are completely transported into an escapist situation. The women are beautiful, the men are witty and heroic, nobody has terrible problems and this is a delightful escapist thing, and you leave the theater refreshed.
Everybody knows how awful the world is and what a terrible situation it is and each person distorts it in a certain way that enables him to get through. Some people distort it with religious things. Some people distort it with sports, with money, with love, with art, and they all have their own nonsense about what makes it meaningful, and all but nothing makes it meaningful. These things definitely serve a certain function, but in the end they all fail to give life meaning and everyone goes to his grave in a meaningless way.
I've never been satisfied or even pleased with a film that I've done. I make them, I'm finished, I've never looked at one after. I don't like them because there's a big gap between what you conceive in your mind when you're writing and you don't have to meet the test of reality. You're home, you write and it's funny and beautiful and romantic and dramatic, and then you have to show up on a cold morning, and you don't have enough of this and this goes wrong and you make the wrong choice on something and you screwed up and you can't go back.