I'm a junkie. I like drugs, I like the whole lifestyle, but it just didn't pay off.

I'm a junkie. I like drugs, I like the whole lifestyle, but it just didn't pay off.

I was once a shameless, full-time dope fiend.

I'm thinking of remaking Psycho again. Doing a third remake. The idea this time is to really change it - we're talking about doing a Punk rocker setting.

For all the boredom the straight life brings, it's not too bad.

Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family. I've always been attracted to temporary families. They tend to be lost characters.

Death Valley is really wide-open - it's bigger than Rhode Island - and it's less a part of California than an ungoverned territory, so there's lots of weird cops-and-robbers stuff going on.

Even if you try to copy a film shot by shot, you still can't. It's still your own film.

Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly.

Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly. Maybe I'm drawn to it as a story element.

Everything's changing so fast that it's sometimes hard to keep up.

Free time keeps me going.

Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

Gay marriage is the last bastion of, to me... as a legal, ceremonial, sentimental and religious side, it's one of the last steps. Retaining your job being one of the earlier steps, like, not getting kicked out of your job because you're gay.

I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.

I find it interesting, the different rules that apply to journalism and drama, even though journalism has become more and more about entertainment, and entertainment has become more and more about journalism.

I had never had a positive leading character - somebody that wasn't an antihero, or who wasn't more of a guy that you're supposed to be on the side of.

I have my ideas of what a good documentary is, but drama is a different animal because you're arranging everything.

I mean, I think I'm pretty sentimental.

I think that in some cases, I've made films that have a sentimental quality, at least as part of the film.

I think that what I'm attracted to is people who are wild. But the self-destructive side comes out of the wild side. The wildness is very different from me. That's why I think I like it.

I'd come into filmmaking as a painter so, for me, making 'Good Will Hunting' was experimental because I didn't know how to do it.

I'm thinking of remaking 'Psycho' again. Doing a third remake. The idea this time is to really change it - we're talking about doing a punk rocker setting.

I'm usually trying to react to what the actors are coming up with. And then the environment, and then the story.

I've always been interested in how to present something that relates to our reality - which is not really... I don't even know if documentary itself does as good a job. It has its own problems in trying to get at the reality of the situation.

I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.

If a movie isn't released, it's one thing, but if you know it will be, it's nice to have closure and see it come out.

If it were up to the executives, they probably wouldn't have directors at all.

If you don't have the story and the unfolding of the trajectory of the saga, it's like getting in a car and not having any gas.

If you put up posters around town for high-school kids, high-school kids will come. If you're casting politicians, you can't put up posters and have politicians come down.

In high school, I read 'Silas Marner' and I was very attracted to this character - he was very rundown and he'd just stop, and things would happen around him.

Modern-day cinema takes the form of a sermon. You don't get to think, you only get to receive information.

My art teacher in junior high was a very out gay man and a mentor to me. He would tell us about Greenwich Village and show us the 'Village Voice' and describe his life, but it was all sort of subversive and below the radar.

My family moved a lot as a kid. We started in Colorado, where I lived for five years. We moved to Chicago for two years, to San Francisco for one year, Connecticut for seven, Oregon for a couple years, and then I went to school.

My family moved a lot as a kid. We started in Colorado, where I lived for five years. We moved to Chicago for two years, to San Francisco for one year, Connecticut for seven, Oregon for a couple years, and then I went to school. So I was always moving, I'm still always moving.

Now the music industry is sort of like a Craigslist venture, right? Where you're making your own records and selling them online.

One of the things that is devastating is I realise I haven't been living a different life than when I was, like, 12. I'm shocked at how reclusive I've been since then. I was unaware of it until recently.

Sometimes, the people who are helping you can drop the ball.

The area of teenage life is not necessarily rarefied; we've all gone through that period. It's not as rarefied as a western or a space adventure or a gangster film, but it has its own dynamic.

The media has gone through lots of things that make it a less foreign thing to have your lead character be gay.

The reason I know about 'Tomb Raider' is from when I was researching 'Elephant.' It was 1999, and I was trying to research the Columbine-massacre kids, and they had played video games, and I, at the time, had never really seen one. It was a world I didn't know.

The rules of suspense are that you do know, and you just don't know when. In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.

The things that inform student culture are created and controlled by the unseen culture, the sociological aspects of our climbing culture, our 'me' generation, our yuppie culture, our SUVs, or, you know, shopping culture, our war culture.

There is a common theme, though, in the stories I have told, which are usually associations of characters or families that are formed outside of a family circle.

There is a way that a younger person can accept the inevitable problem that they're going to die, whereas somebody a little bit older might be overcome.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

There's always a risk if you don't do things the way you've done things before.

Usually people just hire me.

Usually, when I read something, I'm looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you're losing the through-line of the story.