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.

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.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

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.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.

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.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

The best thing I can think of would be to create a union between something as beautiful and powerful and wonderful as Hollywood films and a criticism of the status quo. That's my dream, to make such a German film.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

Robert Altman's Nashville is my all-time favorite film because it covers all the bases - it's original, moving, and has something to say, but also funny and incredibly entertaining.

I never see a novel as a film while I'm writing it. Mostly because novels and films are so different, and I'm such an internal novelist.

I have a movie coming out called Spun, which will be at the Toronto Film Fest.

Well ironically my last three roles have all been a mother. One was a Canadian film where the baby was taken away because she is a drug addict, in Irish Jam I play a mother to a four year old. I think in the future I'll be able to handle the role with a lot more depth.

And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before.

A good film script should be able to do completely without dialogue.

My advice to young film-makers is this: don't follow trends, start them!

The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

It's really rare for film directors to be that interested in things other than themselves.