Home is where you can be yourself.
You can find truly original pieces of writing, but they're original because you go, "Who would have even have thought of that?," or, "Why would anyone ever want to go see that?"
I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.
That's why 'The Bourne Identity' has that sort of shaky style, because for the most part, Matt Damon and I were sneaking around Paris and shooting where we didn't have permits.
At the end of the day, it's still a show about guys who ride extremely fast motorcycles for a living.
I probably shouldn't treat interviews as therapy sessions, but I don't keep a diary, so these end up being my way of keeping track of where I'm at and letting it all out.
When I was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.
I learned from both my parents that you had to be clever.
Greatness is never appreciated in youth, called pride in midlife, dismissed in old age, and reconsidered in death. Because we cannot tolerate greatness in our midst, we do all we can do destroy it.
It's only a thought and a thought can be changed. Choose good ones.
I copied (Shoeless Joe) Jackson's style because I thought he was the greatest hitter I had ever seen, the greatest natural hitter I ever saw. He's the guy who made me a hitter.