I've never been in love with fashion, actually; trends and catwalks don't interest me. I love clothes; I love them historically and currently. They represent a spirit of the times and the zeitgeist.
Love many things, for therein lies the true strength, and whosoever loves much performs much, and can accomplish much, and what is done in love is done well.
In 'Friday Night Lights,' the relationship between the coach and his wife, that marriage was something that you couldn't really understand until you actually saw it exist on film.
In my grammar school years back in the 1920s I used my ten-cents-a-week allowance for Saturday matinees of Douglas Fairbanks movies. All that swashbuckling and leaping about in the midst of the sails of ships!
I've worked on some movies that get put in the horror shelf on the video stores, but they're really structurally like mysteries, and not so dependent on the gore factor, so they really don't need to be R-rated movies.
I think I took my eye off the ball. From about 2005, 2006, 2007, I was out of it. I thought I could oversee movies and have it done for me, so to speak.
I think being snobby about the kind of storytelling people do, it just irks me. It irks me. And in fact, it's one of the things that drives me to make as many horror movies as I do.
From what I've been able to determine, many of our big stars are addicted to tobacco. They want to smoke in movies for the same reason I smoked as I wrote, which is that they think their performance is going to be better.
Well, I haven't really been able to shoot in California for a while. Little movies yeah, but the big movies we can't shoot there. It's just a shame that Arnold Schwarzenegger can't deliver on this level.
It's fine to do movies and say, 'We made big grosses,' but you've got to go back and ask, 'How much did it cost?' and 'Where do you make your profit?'
I think that all stories - if you make movies about zombies and aliens - it has always to do with your personal story. If not directly, it is about your fears, your obsessions, things like that.
Analyses of the movie marketplace points to an interesting phenomenon: High-profile movies are continuing to do well year-to-year in the U.S. and overseas - this past summer, for example, the top 10 movies registered at the same level as in '04.
I don't worry about what everyone wants to see. I make movies that please a writer, director and myself. I always think there are enough people smart as me and sensitive as me.
We are only beginning to learn what to say in a photograph. The world we live in is a succession of fleeting moments, any one of which might say something significant.
My preference for clear structures is the result of my desire - perhaps illusory - to keep track of things and maintain my grip on the world.
The first stone was just tried in the spirit of experimentation. The opening of the stone was far more interesting than the drawing that I had done on it.
The stones tear like flesh, rather than breaking. Although what happens is violent, it is a violence that is in stone. A tear is more unnerving than a break.
The hardened mass of liquid stones had much stronger qualities than those which had simply torn. The skin remained a recognisable part of the molten stone.
Stones are checked every so often to see if any have split or at worst exploded. An explosion can leave debris in the elements so the firing has to be abandoned.
Some of the snowballs have a kind of animal energy. Not just because of the materials inside them, but in the way that they appear caged, captured.
I think critics are very useful. But I think that they, in a way, betray their position when they stop people looking for themselves.
