For me really good acting is about subtext.
Science fiction makes the implausible possible, while science fantasy makes the impossible plausible.
If you have the temerity to try to dramatize a theme that involves any particular social controversy currently extant. . . then you're in deep trouble.
Our greatest responsibility is not to be pencils of the past.
Ideas come from the Earth. They come from every human experience that you’ve either witnessed or have heard about, translated into your brain in your own sense of dialogue, in your own language form. Ideas are born from what is smelled, heard, seen, experienced, felt, emotionalized. Ideas are probably in the air, like little tiny items of ozone.
If you need drugs to be a good writer, you are not a good writer.
If you want to prove that God is not dead first prove that man is alive.
To keep any great nation up to a high standard of civilization there must be enough superior characters to hold the balance of power, but the very moment the balance of power gets into the hands of second-rate men and women, a decline of that nation is inevitable.
Astronauts and teachers are much more amazing than actors.
As an actor, you're just taking temperature. I am anyway, all the time, and responding appropriately. I was again cast very last-minute for Rushmore and met Wes Anderson, this quite physically and socially awkward man who didn't really talk to me much, a precocious and intelligent young boy. And Bill Murray. And we were sort of left in this bizarre hotel together and taken to strange locations around Houston. That was quite an isolating experience.
What I discerned in the U. S. was a convergence of poetic voices coming from many different rents in the social fabric, many cultures, many tributaries, which, together, make up the American poetry of the late twentieth century.