To the generous mind the heaviest debt is that of gratitude, when it is not in our power to repay it.
To come to change, there had to be conflict and pain.
I think my movie addresses the struggles of communities facing class distinctions, which are timeless. The questions of how we live together and what we do for money are really the stuff of drama.
I'm someone who can create critiques of individuals based on their economic history. That's one way I look at people in terms of one story that could be told purely in a Marxist construction.
I tend not to think that anything I happen to be reporting on in my films is special. Meaning that people are always saying to me, 'you must love New York, you have it in all your films. ' But mostly it's because I know New York, and I know Brooklyn at this time. I know the lives there, because I have lived in them.
When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.
My early films were about self discovery, and films of internal conflict. At that level, they were very personal.
The brussels sprout. This is also the worst vegetable of next year.
Working with language is a means by which we can identify the bullshit within ourselves (and others).
The thing that gave me the most pain in life, psychologically, and it gave me tremendous pain psychologically, is man's disrespect for nature.
For me, it's about having a full life wherever I come to set my hat for a while; so I like to be in a place that offers me a base that's rich and full of people. New York certainly has that at the moment.