We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.

The big companies are like, It's so good but we don't know how to market it.

You were up at 5 o'clock in the morning, and then you'd ride in a caravan, because we didn't have big movie trucks or trailers that is the hardware of a movie camp.

There's an easygoing nature that comes with a perspective of things that aren't as important as we make them sometimes.

I keep every script from every film that I ever made because it's like a workbook of that time in my life.

Parents are your teachers until a certain point, and if they don't give you love, you'll go somewhere else to find it.

Tough love - I'm kind of weary of that. I don't think it's so effective.

You definitely want to do the little films. They're always going to be harder, but you don't do them to make money. You do them so you can see what you can make with the research that you have.

I'm doing my work in an environment that's ultimately about dollars and cents.

Miramax can buy a small independent movie that isn't very good, but because it has great relationships with different theaters, it can get into a big theater.

The story follows the whole family. But pretty much all the characters who are in jail have written a book about it, so you've got their perspective of it, however skewed they want you to see it.

I'm more of like a recreational surfer, not a consist surfer. Some people get out every week or every day.

The sun would come up over the ocean, and we'd be eating scrambled eggs before we shot some stuff. It was a vacation in the sense that it was the best working conditions.

High school, you don't want to go back and do it over again.

Every single day of making a movie is going to bring new problems.

We started out as far to the left as we could.

I didn't need clothes. I was allowed the opportunity to act out moments you don't get the opportunity to experience in your own life, let alone as a character in a film. I didn't feel naked.

In a lot of formats, you can be really experimental and see what would happen.

We had two cameras, so they could turn it on and shoot as much as we wanted. You don't have to worry about wasting money on film. A lot more takes are possible.

I'm most interested in working and learning from different people and telling good stories.

We had a script that was really solid and we knew how we were going to shoot and how the energy of it was going to go. So it gave us a lot of freedom to use the camera as a character.

I love vampire movies. I think they are sexy.

I like working in any medium. Who's making it? How much do I like the story? Does it contribute something?

I was put on a surfboard by a cute boyfriend in high school.

It's hard to make something collaboratively. That's the challenge. Sometimes you're successful.

I got to work with Gene Hackman for six weeks, side by side, 12 hours a day.

High school you dont want to go back and do it over again.

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.

Character is power; it makes friends, draws patronage and support and opens the way to wealth, honor and happiness.

You have to understand the tone of the movie, because if it's supposed to be funny, it can be funny violent like the Home Alone stuff, but you have to really understand the tone of what you're doing and make the action work for that and for the character.

In Shakespearean tragedy the main source of the convulsion which produces suffering and death is never good: good contributes to this convulsion only from its tragic implication with its opposite in one and the same character.