A movie can and should have some real dissonance throughout - rage, heartache, tears, conflict, catharsis and all the other elements Aristotle demanded of a good story - but the chord has to be resolved.
A lot of times, we're just sold these movies that are really cynically conceived and marketed, and they just want you there opening weekend, before everybody finds out it's not so good.
What I like to do is just make good music, good movies, hopefully perform a good show full of energy and just have some fun.
I'm always very scared when I start a movie because I never know if I'm going to be able to do a good job or do a very bad job.
The thing about all good horror movies is that the fans expect a couple of inside jokes. Maybe I'm supposed to be saying how terrified I was while making it, but it was really fun.
There's a classic element that all good Disney movies have. It really comes down to the storytelling, I think. It manages to push all of these buttons inside of us; there's a sentimentality.
I think as a filmmaker my first contribution would just be to make a good movie that people would love to see and leave the theatre charged, with a sense of excitement.
Hollywood is right. A good and strong movie can have a more powerful social impact than any and all political speeches or newspaper editorials and columns.
I don't really have a life outside of movies. But I like to climb mountains and walk the dogs. I like fine wines and good restaurants.
My children have never watched any of my films. Charlie knows that daddy makes movies, but he says they are not good enough for him to watch.
Cheyenne Autumn was received not too successfully. I still think it was a very good movie. It was kinda Ford's apology for the way he had treated Indians in his past pictures.
I could never be like Hitchcock and do only one kind of movie. Anything that's good is worthwhile.
When you lock a movie's release date and then move it two months, it's just not good. It's good for everything but the cast, crew, and people who are creatively trying to make a film.
You do small movies because the script is good and because you believe in the director. You don't care about the money. And when they disappear, it's a pity.
I have worked on very good movies that have been buried, and I've worked on some resounding mediocrities that have been paraded through the marketplace like they were masterpieces.
I don't want to say, 'I want to be in Hollywood,' like so many actors do, but I know that Hollywood is still making good movies, and I'd like to be part of that someday.
I have a saying: 'I'm good for three things: making fried bologna sandwiches, making money and picking out good movies.'
Somebody once said, you have to wait 20 years before you can tell if a movie's any good or not so that's probably true.
Making movies, you're like an independent contractor - you come in, you have a specific job, and a lot of what you do is completely manipulated, which is good and bad.
Hollywood movies are run on fear and they don't want to make bold choices. They, generally, speaking want to keep things status quo. That's not really interesting for me.
My first fear was about the devil, when I was around fire, something I saw in a movie. I think it's about pain, in whichever form it comes.
