He plaies well that winnes. [He plays well that wins. ]
I like working with kid actors because they surprise you constantly. I mean, all actors do - but kids particularly.
Editing is where movies are made or broken. Many a film has been saved and many a film has been ruined in the editing room.
You don't paint pictures to put them in your attic. You want people to look at them.
I don't believe that you can judge the worth of a movie in the atmosphere in which it comes out the first time. There's just so many reasons why some pictures don't catch on.
Movies cost so much that studios really try to impose their personality over yours. A lot of times, you can get swallowed up in that and end up making movies that are indistinguishable from anybody else's. One of the things I've always tried to do is to inject myself as much as possible into the movie, so I feel like it's mine. But that also comes from what you choose to do and what you choose not to do. There are certain projects I could have said yes to, and I know exactly how they would have turned out: exactly the way they turned out when someone else did them.
Editing is kind of a solitary job.
Occasionally if I look back at something I've written I'll find one of those that I don't understand, but that's a bad thing - the unconscious has dealt me a bad hand.
Your waking adult life is going to be spent in what you do professionally, so you'd better like the journey and not just aim for the destination.
I never thought my cotton gin would change history.
An interlude of false innocence has passed. Today, as we enter the post-photographic era, we must face once again the ineradicable fragility of our ontological distinctions between the imaginary and the real, and the tragic elusiveness of the Cartesian dream. We have indeed learnt to fix the shadows, but not to secure their meanings or to stabilize their truth values; they still flicker on the walls of Plato's cave.