You get a timeless cool card in New York.
You know when something feels so good but you’re afraid to feel good about it? So you kinda hold back? Everyone says Congratulations you must be so happy. And you say something stupid like I’m just doing what little I can with what little I have.
You make movies for the people. If critics happen to like them too well that’s a home run.
With age you get to a place where you don’t want to knock people out. You just want to give people a hug.
When you go to the movies with your whole family it’s a different experience. For some reason it’s something that you’re all doing together and you take away something special in that.
The thing that stood out above and beyond all the experiences was this relationship with the nine-month-old baby. On weekends I’d be thinking about going back to set on Monday just to see the baby.
My mother gave me this book called Feature Films at Used Car Prices by a guy named Rick Schmidt. I gotta credit the guy cuz he gave me the most practical advice. It empowers you.
My gut feeling about sequels is that they should be premeditated: You should try to write a trilogy first or at least sketch out a trilogy if you have any faith in your film.
I’ve turned down twentysomething million dollars for movies.
I was raised in New York City and raised in the New York City theater world. My father was a theater director and an acting teacher and it was not uncommon for me to have long discussions about the method and what the various different processes were to finding a character and exploring character and realizing that character.