That which we do not confront in ourselves we will meet as fate.
That's what you want: you want projects that you fall in love with. I don't think you pick your projects; you fall in love with them.
Sometimes you have to do the things that scare you and that are outside of your comfort zone and challenge yourself.
You never have any idea where your movie's going to go when you're shooting - you're in this little bubble. Everything you care about is getting the next step right: getting the script right, finding the right actors, shooting it.
Making a movie is universal. Directing a movie is universal; it's a universal language.
Filmmaking is about moments. In real life, things might take six months, a year, but [in filmmaking] you have to create the moment where it happened.
I've always loved films, and I always felt like a storyteller. I left Norway after high school and moved to Manhattan and went to film school in Manhattan. That's when I really found out that this was my calling and what I wanted to do.
The glory of God is the human person fully alive.
Son-In-Law was kind of my crossover. It was the movie that brought me out of the MTV audience into the mainstream.
The door slammed open. Vivenna jumped, putting a hand to her chest. Vasher walked in. 'Start reaching for that sword when you're startled,' he said. 'There's little reason to grab your shirt, unless you're planning to rip it off.
Class certainly loomed large in Katrina's aftermath. Blacks of means escaped the tragedy; blacks without them suffered and died. In reality, it is how race and class interact that made the situation for the poor so horrible on the Gulf Coast. The rigid caste system that punishes poor blacks and other minorities also targets poor whites.