Quotes of All Topics . Occasions . Authors
A script like Nightcrawler gives me an opportunity to truly realize a vision thats mine, which is exciting.
I think there's a lot of factors that go into the whole awards thing. I've never been that big a fan of it.
Stories about travelers coming into town and doing good have been part of our storytelling since the Bible.
There are amazing behind-the-scenes technicians in Portland who didn't want to raise their families in L.A.
I kept getting offered all this young adult stuff. I don't want to keep telling teen coming-of-age stories!
I'm a pessimist by nature. I don't think things are ever going to work out, I'm not particularly ambitious.
The Rolling Stones are so versatile, they're like the band version of that Infinite Dress they sell on QVC.
For Coca-Cola to take a pro-diversity, pro-equality stance creates a lot of goodwill in the LGBT community.
As a Southerner and as a Mormon you approach life in this aspirational way: 'I will rise above my station.'
The battle of the North Atlantic is a grim business, and it isn't going to be won by charm and personality.
Every business should have its biographer-not after its head is dead but to show that he's very much alive.
Some Jungian or Freudian would tell me I'm just trying to go back to the womb... at gunpoint, if necessary.
I see my role as a translator, telling the story that's in the book using the more visual language of film.
I wanted to do something a little bit more feminine after my second movie, 'Joshy,' which was so masculine.
Every director knows it is his job to be manipulative. When you make an edit, you are trying to manipulate.
I'm sorry, but chick fights are sexy. If you don't think so, you're either an uptight woman or a lying man.
Depending on which side you're on, maybe the police are too objective and need to be a bit more subjective.
Every time somebody opens their mouth they have an opportunity to do one of two things - connect or divide.
I don't want the giant ego. I don't want to become Kevin Costner, singing on the soundtrack to The Postman.
Remember, when the writers refer to themselves as 'we' and to the reader as 'you,' this is two against one.
There are moments in one's life where you look back and you say, 'Well, I wish I had done this differently.
The worst thing you can do is animate something, and then throw it out because it doesn't work, story wise.
A fat stomach sticks out too far. It prevents you from looking down and seeing what is going on around you.
I have a great amount of respect for the audience. They know narrative construct. They know all the tropes.
'Taxi Driver' wasn't autobiographical in terms of the actual events, but I did draw on my own mental state.
If a movie has three decent scenes and a decent character, I think, 'OK, at least they got that guy right.'
When I walk out of a movie that's actually good, I write emails to anybody I know who was involved with it.
I'll ask the writers' room who they voted for Emmy awards, but I'll never ask who they voted for president.
For me, I really like the human drama embedded in a crime story, and I like the way European films do that.
Everyone hated the title 'The Full Monty' until they saw the film did really well and then loved the title.
On a deeper level, I think many stories - especially thrillers - can be a journey to the heart of darkness.
I don't know what DVD commentaries are about. I'd like to strangle the person who came up with that concept.
Michael Lewis has the amazing ability to take complex formulas and concepts and turn them into page-turners.
I do know when you look at some ballplayer and all of a sudden he is the size of a truck something is wrong.
You either go along with the system - conform to what is expected to be a hit - or you have very tough going
You have to be able to get inside the heads of the characters and completely sympathize and understand them.
I think I've had pretty good experiences for the most part with the people who have directed my screenplays.
My time on the set is the least of my involvement. Most of my time is in pre-production and post-production.
I was forced to go to Cotillion when I was in seventh grade. So I learned what fork is what and dance steps.
There's a dearth of media around young black women and certainly a dearth of LGBT media for people of color.
I really just love to open a blank document and spew, whereas with a screenplay I have to be more judicious.
As a kid, I spent every summer bent over a stack of books, obsessively writing detailed reports on each one.
Ah, reality TV: where opportunists delight in exposing opportunism! It's kind of like the indie music scene.
You're either Mormon or Southern Baptist in my family. They're incredibly conservative and I love my family.
Gay people are more powerful when they work with lesbians. We become more powerful when we're L, G, B and T.
I didn't know the books and certainly didn't know the tragic origin story of Mary Poppins in 1906 Australia.
Where does a man get inspiration to write a song like that? Well, he gets it from the landlady once a month.
When people come in the door and they have something, discovering and exploring the character is a real joy.
Beautiful revelations of power are often written by the guy who got kicked around and didn’t have any power.
In production, in the first couple of weeks of production, that it was more like making an internet musical.