I realized that work doesn't beget work. Good work begets work. So I got a lot more patient and stopped worrying about working all the time.
I know that I'm very comfortable with my body. I'm not in insane shape or anything. I run, but I'm not a gym guy or anything. I wish I had washboard abs, but I don't.
Fame is one of the potential hazards of this job, but I really just want to make movies. I want to be respected, sure. Who doesn't? But famous-famous? I just don't care about it. And if you genuinely don't give a damn about that stuff, you really are free.
I'm really bad at tests of any kind, so I'm bad at auditions. I consider myself educated most of the time, but when I'm under the gun, I just fail.
It's only the filmmaker. The script is really, really second. And there's a huge gap between filmmaker and script for me. I almost don't care about the story that they're telling; I really only care about who wants to tell it.
I don't think that there's anything that we shouldn't be allowed to photograph, really, unless there's something that's really deeply harmful to the subject in the photograph.
I was watching Orson Welles and Jean Vigo films at a ridiculously young age.
After working for a while, I realized that acting was only satisfying about 30 percent of what interested me about the filmmaking process. Somewhere around age seventeen, I started to realize that if I'm very particular about the people I work with, then I can have the best sort of master class possible.
