Definitely my generation and beyond grew up in theaters and when you make a film you think of the theatrical experience. You think of that big screen in the darkened theater with a lot of people, so that's always the thought behind it. If that's the case, it's nice if that's available. That's great, but I don't really mind if they're watching films on a plane. I don't mind. Anybody who just wants to watch a movie, I can't complain. If that's the way they're going to watch them, that's the way they watch them. Who am I to judge?
I think casting is really important. Finding the right sensibility for the right part is an art in itself. If you're off there, you make it harder on yourself as a director. And it's fun to work that out with the actors. I don't think there's any magic to directing actors. It's very instinctual. Working with actors is really one of my favorite creative moments of the whole process, and the most fun, because it's collaborative. I spend a lot of time rehearsing. I'm very rehearsal-oriented, probably because I have some background in theater. I like knowing what will work beforehand.
Hollywood has a way of sucking the world's talent to it.
I've never been a guy who had more than a toe in Hollywood anyway, so my toe is more easily lopped off than most.
Before Sunrise did very well internationally. It made as much in Italy and Korea as it did here.
I worked offshore as an oil worker for a couple of years.
The big nut to crack is to how to tell a story, what’s the right way to tell a particular story.
I think you get in trouble if you make experimental big studio films.
I do find myself at the moment, due to the success of School of Rock, to be on people's radar a little.
Monogamy, monotony. There's only a couple of letters...
When you're trying to get laid, everything's great, but once you've been with someone eight years and the future is not finite, you have time to sit and really examine every little thing that irritates you.
I think I got really lucky with Slacker. That was a film that probably shouldn't have been seen.
No one is asking what happened to all the homeless. No one cares, because it's easier to get on the subway and not be accosted.
The worst thing is that you used to be able to show interesting films on campuses. Those places are all gone.
People think drama drives story, but I think the comedy is really the heart and soul.
I'm lucky that I get to jump around, do a big-budget comedy and then a smaller film. I don't even make a big distinction between them. No one believes this, but it's the same. I'm the same person, trying to make it work. I just love being on a movie set. I like making movies.
The truth will only be told over a career.
I always think that I’m still this 13-year old boy that doesn’t really know how to be an adult, pretending to live my life, taking notes for when I’ll really have to do it.
Something about Texas I'm not proud of is that our state murdered 37 people last year alone.
There are so many great artists, I think, who kind of suffer from being icons, legends, acknowledged masters.
We all give ourselves a lot of leeway, but we want consistency from other people.
I'd be fine to make movies and have them never come out. But you have to deal with the business side. You can't get too emotionally invested, because again, you've got no control. There's going to be some huge film out that everyone goes to, and it probably won't be mine.
I want to make a film about a factory worker.
