Asking Europe to disarm is like asking a man in Chicago to give up his life insurance.
A real explosion is not only much more fun to shoot, it also helps the actors and creates an energy on set and ultimately in the scene.
The brief flashbacks are sun-kissed, summery and optimistic. It's the only place in the movie you will see red, yellow, orange, or any vibrant colors.
Jude [Law] is really good at playing an obsessive. He has a very watchable quality when he's on a quest for something.
Maybe I'll paint, do photography, just something else. I can see that.
I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too. Stuff I like is getting trashed and stuff that is being praised I think is terrible. I don't really feel in sync with what's happening, but at the same time, what I think keeps me afloat is that I try not to be, and don't want to be, very indulgent. I try to make the films as lean as possible, and to not spend a lot of time crawling up my own ass creatively.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
I've never been able to understand where great artists come from.
Writers talk about the agony of writing; I talk about the agony of not writing.
Life goes so fast, and there is so much to do. But the moments that have enriched my life the most came when I slowed down and connected with the people I care about.
Remember He is the artist and you are only the picture. You can't see it. So quietly submit to be painted---i. e. , keep fulfilling all the obvious duties of your station (you really know quite well enough what they are!), asking forgiveness for each failure and then leaving it alone. You are in the right way. Walk---don't keep on looking at it.