Generally speaking, I went through that. I came to a place where I realised what true value was. It wasn't money. Money is a means to achieving an end, but it's not the end.

Well first of all it's a business and it's a tough business, and you have to have the strength to survive all the set backs all the failures that make this a mean business, that's getting meaner and meaner every year in my opinion.

Radio, newspapers, they were normal parts of my life. In those days, you had to go somewhere to watch television and leave something to see it.

I believe in mythology. I guess I share Joseph Campbell's notion that a culture or society without mythology would die, and we're close to that.

Never revisit the past, that's dangerous. You know, move on.

I don't know what your childhood was like, but we didn't have much money. We'd go to a movie on a Saturday night, then on Wednesday night my parents would walk us over to the library. It was such a big deal, to go in and get my own book.

In fact you've got your hands tied behind your back when somebody chooses to take a low road in to you, there is nothing you can do about it, and so you just live with it and move on.

I think the environment should be put in the category of our national security. Defense of our resources is just as important as defense abroad. Otherwise what is there to defend?

Whereas money is a means to an end for a filmmaker, to the corporate mind money is the end. Right now, I think independent film is very confused, because there's excess pressure in the marketplace for entertainment to pay off.

We program the festival, after 20 years, exactly the way we did on the first day.

The technology available for film-making now is incredible, but I am a big believer that it's all in the story.

Sundance was started as a mechanism for the discovery of new voices and new talent.

Once the festival achieved a certain level of notoriety, then people began to come here with agendas that were not the same as ours. We can't do anything about that. We can't control that.

Sport is a wonderful metaphor for life. Of all the sports that I played - skiing, baseball, fishing - there is no greater example than golf, because you're playing against yourself and nature.

He's meant to be that classic Homer, Ulysses, Hercules - a character who goes out or has some gift of some kind. He goes on a journey of discovery and part of that is falling into darkness - the temptations of life.

As an actor and as a person you come together with being in familiar territory although that has not been my whole life. That's been a part of it. I think a lot of people associate me with the west because of Sundance.

I had just arrived in New York from California. I was nineteen years old and excited beyond belief. I was an art student and an acting student and behaved as most young actors did - meaning that there was no such thing as a good actor, 'cause you yourself hadn't shown up yet.

I am a cynical optimist. Big opening weekends are like cotton candy. The films you will remember over time are the films that stick in the consciousness of the audience in a good way.

Generally speaking, I went through that. I came to a place where I realised what true value was. It wasn't money. Money is a means to achieving an end, but it's not the end.

It's an honor putting art above politics. Politics can be seductive in terms of things reductive to the soul.

Usually I like to improvise. Sometimes, depending on the nature of the piece, I like to improvise because I think it brings certain freshness and a reality to it, as long as it doesn't go too far out of the box.

I'm not a facelift person. I am what I am.

Golf has become so manicured, so perfect. The greens, the fairways. I don't like golf carts. I like walking. Some clubs won't let you in unless you have a caddy and a cart.

Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.

Filmgoers are starved for new ideas, voices and visions.

It's hard to pay attention these days because of multiple affects of the information technology nowadays. You tend to develop a faster, speedier mind, but I don't think it's necessarily broader or smarter.

Because, you know, you're in Utah. And because of its political conservatism, if you can make it there, you can make it anywhere.

I'm not interested in a film about golf but I am interested in golf as a metaphor.

What I would do is when I was younger I would draw in a sketch book something that happened in my life and then write a little something on the side about what happened or what the story.

You can't completely control the sport - Tiger Woods comes close. The test is against yourself and nature's own way. I find golf a particularly good metaphor for this story.

I did not, like my children and people today, grow up with television as part of my life.

There is nothing I can do about this stuff and I am pretty well ok with the fact that I think Sundance is not going to be stopped by it, because he Festival is itself now, and doesn't need me out there to talk about it like I did years ago.

Health food may be good for the conscience but Oreos taste a hell of a lot better.

'Butch Cassidy' was the only film I ever enjoyed making.

A few years after that first visit, I applied for a job in Yosemite.

All of the films that I've made are about the country I live in and grew up in... And I think if you're going to put an artist's eye to it, you're going to put a critical eye to it. I've always been interested in the gray area that exists between the black and white, or the red and blue, and that's where complexity lies.

Ambiguity is something that I really respond to. I like the complexity of it.

Any time I saw people treated unfairly because of race, creed, whatever - it struck a nerve.

Be careful of success; it has a dark side.

Celebrity is a big part of the American social system. I'm certainly grateful for what it's done for me, but I do think that celebrity is overdone in our society. I think it's got a dangerous side to it.

Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.

For 'Jeremiah Johnson,' nobody wanted to make that film. I went to Sydney Pollack, and I said, 'Sydney, I live in the mountains, and I would like to make a film about a person that had to exist in the mountains and survive in the mountains.'

For me, personally, skiing holds everything. I used to race cars, but skiing is a step beyond that. It removes the machinery and puts you one step closer to the elements. And it's a complete physical expression of freedom.

Going to Santa Fe is like going to Greece. It's not that special compared to other areas. The pinon pines are no different than pinon pines elsewhere. But there has been culture there longer than in most places, and you feel it.

Hollywood was not a place I dreamed of getting to. I never could take seriously the obsession people have about being a celebrity or getting to Hollywood - I was born next door.

I am passionate. I am political about my country, about what it is, how strong it is, how strong it remains.

I began by doing a lot of character work on TV, just fun acting parts.

I believe the American people care a lot about the environment.

I can't go into a bar anywhere without someone starting to play 'the Entertainer'.