Just like all great stories, our fears focus our attention on a question that is as important in life as it is in literature: What will happen next?
I'm used to doing a lot of dolly tracks.
Having been in front of the camera just a couple of times, I'm empathetic, because it's very disconcerting. Someone shuffles you off to the trailer; you sit there for eleven hours wondering what the hell's going on.
Someone comes and drags you in front of the camera, and they're already saying, "Okay, we got it. Moving on. " You get one or two takes. So it's a tough job.
I really don't know where the independent fits in anymore when twenty-five million dollar movies are considered straight-to-video fare. We're like penny postage stamps.
I wouldn't want to put myself up for something that I didn't think I could do a good job on. I wouldn't to direct material I didn't feel I could serve, but I don't have anything against doing bigger pictures.
A lot of people live with no apparent means of support. I kind of envy the musicians up there. You're down here, busting your ass in Hollywood, and it's like Lily Tomlin's joke about the rat race - all you prove in the end is that you're a rat.
Artists don't need criticism, artists need love
There are few things, apparently, more helpful to a writer than having once been a weird little kid.
He that waits upon fortune, is never sure of a dinner.
It's three disparate elements: the stop sign, the stage paintings, and the skeleton paintings. Those are three sharp ideas, although none of them are necessarily good ideas. Tons of artists have made whole careers out of those three ideas.