We just need some faith.
I do love the young adult novels as a form and genre, because it has a purity of intention and heart.
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.
To come to change, there had to be conflict and pain.
To achieve great things we must be self-confined. . . mastery is revealed in limitation.
The only way to understand something is to be confronted by something that is difficult to understand.
Old pictures look very rugged and young, and the people in the photographs always seem a lot happier than you are.
My whole life has been spent with people who have taken every knock in the world. No advantages. Yet they greet you with a big smile, they give you what they have, and they keep coming back. They are the fighters.