People have said that I said I hate television. I never did say that. What I said was that I hated a lot of stuff that was on television. It's nothing about the medium itself.
I like the idea of working my way up. I don't feel impatient to immediately jump into something that could literally bring down a studio if I don't do it well.
I was in high school, and when you get to be 14, 15, you start to feel a little more like your own person so that you can assert your adulthood a little bit.
If you're on the varsity team, the responsibilities are a lot bigger and there's more stress, but you also walk around feeling probably like you can hold your head high.
I would break a lot of cymbals. You whack the cymbals hard enough, and they will crack in half. Drums are not actually as sturdy as they look. They're actually somewhat fragile instruments.
It's a little difficult when something goes from being an utter obsession - a thing where your skill defines you as a person - to it just being a thing you occasionally do.
There are a few musicians that I know who seem on the outside like very asocial or somewhat unemotional people, people who aren't capable of emotions, and people think they're very cold inside.
I had heard about the nightcrawling world, and I'm very aware that there are tens of millions of young people around the world who are facing bleak employment prospects.
A sociopath is not just someone who doesn't care about human emotion. They're someone who understands people to the point that they can manipulate them to an extraordinary degree.
Media is extraordinarily important and is an extraordinarily powerful tool. There's a reason that the first things that a rebellion or revolt will take is the media. The story you transmit is the story that becomes a given, or the narrative of a coun...
With a musical, you kind of have to do a mind-meld with the book-writer, the lyricist, the composer, the director - sometimes the producer. I think that's a reason why musicals are the hardest form.
My cat brought me a toy. I thanked her and threw it. She sat there gave me a look that made me realize people and dogs are the crazy ones.
Statuettes of drunken sailors, velvet pictures of island maidens, plastic seashell lamps made in Taiwan. What contempt the people who think up souvenirs have for other people.
All comparisons between America's current place in the world and anything legitimately called an empire in the past reveal ignorance and confusion about any reasonable meaning of the concept empire, especially the comparison with the Roman Empire.
I look at myself more as a storyteller than a screenwriter, as pretentious as that may sound, but that's what really attracts me to TED Talks. For me, the really effective ones are being presented by expert storytellers.
From my own internal fanboy perspective, there's nothing that I hate more than seeing a three minute trailer for a movie where I feel like it's shown me the entire movie.
I didn't go into 'Rabbit Hole' wanting to write about class. I think because of who I am it somehow found its way into it.
I probably shouldn't treat interviews as therapy sessions, but I don't keep a diary, so these end up being my way of keeping track of where I'm at and letting it all out.
That's why 'The Bourne Identity' has that sort of shaky style, because for the most part, Matt Damon and I were sneaking around Paris and shooting where we didn't have permits.
When I was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.
I started my career wanting to make a 'James Bond' movie, and I couldn't get hired! I made 'The Bourne Identity,' and ultimately the impact of that film was that it changed the 'James Bond' franchise.
