All of the films that I've made are about the country I live in and grew up in... And I think if you're going to put an artist's eye to it, you're going to put a critical eye to it. I've always been interested in the gray area that exists between the black and white, or the red and blue, and that's where complexity lies.
I think independent filmmakers, documentary filmmakers - they are journalists.
We program the festival, after 20 years, exactly the way we did on the first day.
Sport is a wonderful metaphor for life. Of all the sports that I played - skiing, baseball, fishing - there is no greater example than golf, because you're playing against yourself and nature.
Generally speaking, I went through that. I came to a place where I realised what true value was. It wasn't money. Money is a means to achieving an end, but it's not the end.
Once the festival achieved a certain level of notoriety, then people began to come here with agendas that were not the same as ours. We can't do anything about that. We can't control that.
'Butch Cassidy' was the only film I ever enjoyed making.
I think documentary filmmakers need as much protection as possible under journalist's privilege. How else is the public to know what is going on?
The focus of entertainment is taking away from what the public needs as news. I think investigative journalism will always be important and always find its way, be it on the Internet or wherever.
Sundance was started as a mechanism for the discovery of new voices and new talent.
Golf has become so manicured, so perfect. The greens, the fairways. I don't like golf carts. I like walking. Some clubs won't let you in unless you have a caddy and a cart.
I'm not much interested in sport just as sport. I wouldn't be interested in making a golf film or baseball or fishing film.
I don't know what your childhood was like, but we didn't have much money. We'd go to a movie on a Saturday night, then on Wednesday night my parents would walk us over to the library. It was such a big deal, to go in and get my own book.
When you're making a movie, you don't think about the outcome. That's something I'm grateful for: whenever I go and do a new project, I never think about the outcome. It's always just about the work at hand. That's the fun part. The other part is always something I've had a struggle with, which is promoting the film. I know it's important.
Be careful of success; it has a dark side.
I have a lot of land. I bought it because I had a very strong feeling. I was in my early twenties, and I had grown up in Los Angeles and had seen that city slide off into the sea from the city I knew as a little kid. It lost its identity - suddenly there was cement everywhere and the green was gone and the air was bad - and I wanted out.
For 'Jeremiah Johnson,' nobody wanted to make that film. I went to Sydney Pollack, and I said, 'Sydney, I live in the mountains, and I would like to make a film about a person that had to exist in the mountains and survive in the mountains.'
Times change; Hollywood is not the same as it was when I first entered the business. It felt to me like it was starting to narrow down and centralize itself around what would... make money.
Any time I saw people treated unfairly because of race, creed, whatever - it struck a nerve.
I'm an impatient person, so it's hard for me to sit around and do take after take after take.
Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.
For me, the Sundance Institute is just an extension of something I believed in, which is creating a mechanism for new voices to have a place to develop and be heard.
I think a lot of people thought my career started with Butch Cassidy.
A few years after that first visit, I applied for a job in Yosemite.
For me, personally, skiing holds everything. I used to race cars, but skiing is a step beyond that. It removes the machinery and puts you one step closer to the elements. And it's a complete physical expression of freedom.
Storytelling is important. Part of human continuity.
The big moment for me was making 'All the President's Men'. It was not about Watergate or President Nixon. I wanted to focus on something I thought not many people knew about: How do journalists get the story?
I'm always drawn to stories that people don't know about, particularly when they're inside of a story that everyone knows about.
I'm not a lawyer, but I do know this: we need to protect our ability to tell controversial stories.
When I started, I was an artist; I wanted to be an artist. I became an actor almost by accident. I acted for fifteen years and tried to produce. I looked for stories that were the story beneath the story that you thought you knew, like 'The Candidate'.