In the midst of global recession, in the face of uncertainty about what's going to happen next, film looks for inspiration to real people.
Nature does not create works of art. It is we, and the faculty of interpretation peculiar to the human mind, that see art.
In 'Angels in America,' I got to fulfill a lifelong dream. I was in the air eight nights a week for two years, and I just loved it.
We've been using 'rejuvenate,' meaning to restore youth, to make young again, as a verb for at least 200 years.
You can limit the number of invitations to an in-person fashion show, but you can't police the Internet.
Twitter is like overhearing people's conversations, which is exactly what dictionary editors have been wishing we could do for years.
I was trying in 'The Power of the Dog' to write a brutally accurate in-your-face, if you will, description of 30 years in the war on drugs. And the effect that that had on people.
As far as I can tell, 1968 is a year about change, about revolution, about violence, about people turning inwards as community breaks down.
High-level actors can be all about their close-ups and the size of their trailers. I'd heard these horror stories of how a really powerful actor can come in and change your script.
In any country, governance issues are there. Challenges are there, pressures are there. When multi-party coalitions take decisions, sometimes delays will be there. But that is what democracy is: it is beauty or it's challenge.
I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It's exciting to capture that on film.
I know that I've got big ears and a big forehead and that my hair sticks up. But I'm happy with myself. I'm not necessarily trying to win a beauty pageant here.
I had my boy in Boston on Easter Sunday. That kills me, from a sports perspective. He's a Boston baby and I'm a New York guy.
With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
I learned with 'Birdman' that it's liberating when you just lose yourself and go after something that terrifies you. The experience was so good.
I studied for three years in the theater, and it was a very, very scary experience to direct live, being so vulnerable without the possibility to control things, to be so exposed.
I think there's a tendency to think geeks and nerds are just sweet guys that were picked on, but that hasn't been my experience. I'm certainly not like that, in a lot of ways.
We've all learned about this disease since it was first discovered several years ago in Europe. And so I think we've learned from the European experience.
I've found nothing but support and generosity from older comics. I think comedians are a lot nicer than the stigma is, at least from my experience.
Cinema is my religion. It is a way to make people sensitive, through emotions. To make them feel, experience empathy. People are touched and act ethically when they are emotionally touched.
