Zitat des Tages von Richard Linklater:
The worst thing is that you used to be able to show interesting films on campuses. Those places are all gone.
Trump has a lot less than he says he does.
A college athlete is going to be competitive. You don't get to that level if you're not.
'Slacker' is so not about navel-gazing.
Some films really do take years to get going, but I'd say that most of the films I want to do are slightly smaller projects. Some could be sketches. They're not all oil paintings.
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.
Every day's a hustle.
There's a long history of people who spent that $300,000 on their first film and weren't quite ready, and then they never did it again 'cause they were out of synch with where they were, and they would never raise that money again.
I want to make a film about a factory worker.
I always thought that I had a pretty diverse body of work, I mean, as far as subject matter. Teenage rock and roll movie; romance; '20s Western. On paper it looks different, but then there's similarities in the vibe of them.
Hollywood has a way of sucking the world's talent to it.
The arts were like, there's no opponent. It's just yourself. I'm not saying they don't make the arts a competition with awards and all that, but that's outside the work itself.
I want cinema to be a part of my life. It's natural for me.
Well, you have to keep your faith in the fact that there are a lot of intelligent people who are actively looking for something interesting, people who have been disappointed so many times.
I worked offshore as an oil worker for a couple of years.
Whatever story you want to tell, tell it at the right size.
If you make a film about childhood, you've got to pick a moment - you know, 'The 400 Blows.'
I always say I'll never make a film in Austin in summer, but I always end up here.
Yes, but Hollywood is the strangest place in that they'll torpedo their own film to prove an emotional point.
I remember playing for coaches who seemed like military-type guys. It always rubbed me the wrong way.
I really do remember everything. I see people I haven't seen in 20 years, and I can talk with them about what we talked about outside the high school.
The people you live with at college, those first roommates often are people you're still friends with the rest of your life.
My dad's chill. He's the guy who, you wreck the car, he says, 'Well, nobody was hurt. It's just some metal.'
Every college player thinks they're on their way. But, delusions aside, I might have toiled in the minor leagues for a bit.
I think I got really lucky with Slacker. That was a film that probably shouldn't have been seen.
I do find myself at the moment, due to the success of School of Rock, to be on people's radar a little.
The '70s kind of sucked.
I've always been most interested in the politics of everyday life: your relation to whatever you're doing, or what your ambitions are, where you live, where you find yourself in the social hierarchy.
Filmmakers are going to make films, just like painters are going to paint.
Before Sunrise did very well internationally. It made as much in Italy and Korea as it did here.
'The Newton Boys' was the one time I've made a film with really active characters who weren't at all self-reflexive and just plowed through their lives. There's a part of everyone that's like that. We have a biological imperative to keep living, keep moving forward... We have no choice.
It was always kind of sad when your favorite punk rockers, like Jello Biafra or someone, would say they hate something you like. It was, 'Oh, I thought we were on the same page.'
I've done my part to 'ruin' Austin.
We filmmakers are control freaks. For us, it's about bending the elements of a story into existence.
I just love being on a movie set. I like making movies.
My working method has always been, 'Work really hard and get it right the first time.'