Picking projects, it's always director first and then script. Those two things are pretty much head-to-head.
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
I've definitely enjoyed myself more on the projects where I've played a good person, rather than on the projects where I've played somebody who is morally compromised.
Of all the projects I've worked on, I've never worked with another director like Billy Friedkin. I think he's a genius.
The things and the projects that I want to be a part of are not the ones that I get offered. I get offered a lot, but it's not what I'm interested in. So I have to fight very hard for the things that I want to do and to work with the filmmakers that I want to work with.
Every time you start a project, you're hopeful that the critics receive it warmly.
I love people like Kate Bush and Stevie Nicks and David Bowie - people that project themselves as characters and that contextualizes the music.
I would sign on for projects that were meant to shoot in July, and then they would postponed and they would bleed into the following semester, and then I'd take a semester off, and then the movie would collapse.
I mean, look, the government is not a startup obviously. But projects to change government I think are best thought of as startups.
The main source of my income is through the commissions of the large-scale works and big sculptures, the projects.
It doesn't matter to me if it has a surprise ending or not. I usually go for the material or the project.
Position yourself as a center of influence, the one who knows the movers and shakers. People will respond to that, and you'll soon become what you project.
I try to make that tension almost stupidly overt in my projects, almost ridiculously so. I keep coming back to the same obvious points again and again.
Bankers cannot afford to be concerned with only the economic aspects of projects. There may be serious implications on the natural environment, the urban environment, on human culture.
We don't have to wait for people to green light our projects, we can create our own intersections.
There are an infinite number of rewards you could bestow on yourself for working at your creative projects, and you deserve every one of them.
Fear only exists when you do not understand that you have the power to project thought and that the Universe will respond.
I like the idea of not having to do stuff for the money, and if I want to, I can pick indie projects for the rest of my life and be quite happy doing that.
If you could ever do a project that really has magic in it, and justifiable magic, you should do it.
I'm my own worst enemy sometimes when I pick projects.