I love rehearsing because in rehearsals there are no mistakes, nothing is wrong, some things apply or lead you to focus on the character and the things that don't apply are equally valuable because they lead you to towards what does.

I like doing them and they're ridiculous and the actors can improvise a lot, and they don't have to be really realistic characters that hit a very specific tone as in a feature film. They're really fun, I want to make more of them definitely.

I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.

If you go into a bar in most places in America and even say the word poetry, you'll probably get beaten up. But poetry is a really strong, beautiful form to me, and a lot of innovation in language comes from poetry.

What I did was I completed the half-hour film, but before really showing it, I wrote two more sections for a potential feature film which I didn't think would really happen, but at least I had it in case.

I always think the Sex Pistols and the Ramones as very, very important because they stripped things down.

The intention was to shoot short films that can exist as shorts independently, but when I put them all together, there are things that echo through them like the dialogue repeats; the situation is always the same, the way they're shot is very simple and the same.

I start with actors that I know personally or I know their work, and there are things about their work or their presence or their own personality that make a character, that exaggerates some qualities and suppresses other qualities. It's always a real collaboration for me.

Contradiction was something I really like when it is embraced in that kind of philosophy.

I've always loved films, always. I studied literature and I went to Columbia in New York and I went to Paris for part of one year and ended up staying there.

I didn't go to classes there, but ended up at the Cinematheque, and there it opened up even wider because there I saw a variety of films from all over the world.

I didn't get my degree at NYU; I got it later, they gave me an honourary one.

Hopefully, if not it's not working right. I'm like a navigator and I try to encourage our collaboration and find the best way that will produce fruit. I like fruit. I like cherries, I like bananas.

Before she married my father, my mother was a film reviewer for The Akron Beacon Journal - a small newspaper.

I think it comes from really liking literary forms. Poetry is very beautiful, but the space on the page can be as affecting as where the text is. Like when Miles Davis doesn't play, it has a poignancy to it.

I like to rehearse with the actors scenes that are not in the script and will not be in the film because what we're really doing is trying to establish their character, and good acting to me is about reacting.

I'd wanted to be a writer and when I came back to New York worked as a musician too, but I found my writing starting to get more and more referential to cinema.

When I left Ohio when I was 17 and ended up in New York and realised that not all films had the giant crab monsters in them, it really opened up a lot of things for me.

Baseball is one of the most beautiful games. It is. It is a very Zen-like game.

I have to tell everyone that when I finish a film and it goes out and is released, I never look at my films again. I don't like looking back. I don't even like talking about 'em! So I'm really digging back in my memory because I don't like to sit and look at my films again.

I didn't get the degree because in my last year, for my thesis film I made a feature called Permanent Vacation and they'd given me a scholarship, the Louis B Mayer fellowship and they made a mistake.

I think of poets as outlaw visionaries in a way.

A lot of poets too live on the margins of social acceptance, they certainly aren't in it for the money. William Blake - only his first book was legitimately published.

I don't like American football. I think it's boring and ridiculous and predictable. But baseball is very beautiful. It's played on a diamond.

I started working with friends of mine and that, to some degree, continues.

Cricket makes no sense to me. I find it beautiful to watch and I like that they break for tea. That is very cool, but I don't understand. My friends from The Clash tried to explain it years and years ago, but I didn't understand what they were talking about.

Poets are always ahead of things in a certain way, their sense of language and their vision.

I wanted to make an Indian character who wasn't either a) the savage that must be eliminated, the force of nature that's blocking the way for industrial progress, or b) the noble innocent that knows all and is another cliche. I wanted him to be a complicated human being.

It was a really interesting time in New York in the late 70s and early 80s, and the music scene was really, really interesting because you didn't have to be a virtuoso to make music, it was more about your desire to express things.

I love rehearsing because in rehearsals there are no mistakes, nothing is wrong, some things apply or lead you to focus on the character and the things that don't apply are equally valuable because they lead you to towards what does.

In this watering-place I acted an heroic character, badly studied; and being a novice on such a stage, I forgot my part before a pair of lovely blue eyes.

I do like to embed a fictional character firmly in an occupation.

But even with a character like Cary who is relatively outlandish, at the end of the movie he's in a place where I wouldn't have expected him to be - taking on the responsibility of a woman who is pregnant and who used to be his best friend's wife.

Always, your work is the same: You have to tell a story, you have to make a character. It doesn't matter if there are thousands of dollars, millions behind it, or if there is nothing.

Each of us is meant to have a character all our own, to be what no other can exactly be, and do what no other can exactly do.

I liked Huckleberry Finn and Tom Sawyer, and that is the kind of character that I would like to have played. That would have been more in tune with who I really was.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

In a lot of ways, the make-up was the character.

The more we study the Indian's character the more we appreciate the marked distinction between the civilized being and the real savage.

So many people have said that to me, that what they really like about Alex is what she brings out in Marissa, and what this situation brings out in her, a hint of happiness and another side to her character.

I've been on the show for six years and I don't even know what her history is. I sort of make things up in my mind, but I think it's hard for an audience to follow and invest in a character when they don't have the details.

It is not true that drink changes a man's character. It may reveal it more clearly.

Because I killed a guy in real life, and because my character kills a guy onstage, they said I could never do anything this great again. I resented that.

Well, I go to the theater today, and its curtain - there is no curtain in this play; the lights go down and go up - and we start. And I live this character for two hours. There are only two of us in the play. And It's a complete experience.

I just kind of understood it, and I threw my love for others and love for life into the character, and was having a blast. I loved playing Dharma. I loved it!

I think if you play a character that is fearless, then it's boring. I think that's what was so incredible about Harrison Ford, is that he always seemed like he was never going to survive it, he's always scared, and yet he always does survive it somehow.

If you look to lead, invest at least 40% of your time managing yourself - your ethics, character, principles, purpose, motivation, and conduct. Invest at least 30% managing those with authority over you, and 15% managing your peers.

Every character I play has to be the hero of his own story, the way we're all heroes of our own lives.

To be a character who feels a deep emotion, one must go into the memory's vault and mix in a sad memory from one's own life.