You are what you love. Not what loves you.
Charlie Kaufman
Constantly talking isn't necessarily communicating.
I hate a movie that will end by telling you that the first thing you should do is learn to love yourself. That is so insulting and condescending, and so meaningless. My characters don't learn to love each other or themselves.
There's theater in life, obviously, and there's life in theater.
I studied acting at Boston University. I was in the theater department there. Somewhere in there I decided that wasn't what I was going to do and I went to the B.F.A. film program at N.Y.U.
I was trying to figure out what a memory feels like.
As a writer, or as a filmmaker, you have to present yourself, and part of what yourself is is what you're interested in, or what you think is funny, or what you think is sad, or what you think is horrible.
The only honest and generous thing for me to do is to give people myself. That's all I've got as an artist, so I want to do that in an unflinching way.
There's this inherent screenplay structure that everyone seems to be stuck on, this three-act thing. It doesn't really interest me. To me, it's kind of like saying, 'Well, when you do a painting, you always need to have sky here, the person here and the ground here.' Well, you don't.
I do like escapism. I like going to the movies on a Friday night and seeing something fun.
I have a lot of health anxiety.
We try to organize the world, which isn't organized the way our brains want to organize it. We tell stories about the people in our lives, we project ideas onto them. We project relationships with people, we make our lives into stories. I don't think we can avoid doing that.
I'm not a celebrity. I'm intentionally and defiantly not a celebrity. I don't have any interest in it. I don't have any talent for it. I keep my personal life out of my public life as cleanly as I can.
I think you just assume that your memory is just sort of a video playback of your experience, but it's nothing like that at all. It's a complete refabrication of an event and a lot of it is made up, because you're filling in spaces.
I'm old enough, by a long shot, to remember going to the library and spending days researching. If I was looking for a line from a poem or something else I needed, that would be the trip I would have to take.
I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.
I have a personality that tends to be somewhat compulsive, and I do tend to think in a circular way. I dwell on the same things over and over and I try to figure out different ways of looking at the same issue.
I've had to deal, a lot, with my own sense of intimidation at meeting famous people - especially actors, but really any famous people.
I'm not into extreme sports or something. I just live a quiet life.
I'm in my mind a lot. I live there.
My time on the set is the least of my involvement. Most of my time is in pre-production and post-production.
If you create something that is asking for people to respond as they're going to respond, you have to allow them to respond as they're going to respond. Some of the people are going to be uninterested and some people are going to be mad for some reason, which is their business. That's just the way the world is.
So when I write characters and situations and relationships, I try to sort of utilize what I know about the world, limited as it is, and what I hear from my friends and see with my relatives.
It occurred to me that every work of art is a synecdoche, there's no way around it. Every creative work that someone does can only represent an aspect of the whole of something. I can't think of an exception to that.
I do have, at different times, a certain kind of self-consciousness in the world, an insecurity.
I really don't have any solutions and I don't like movies that do.
I wanted to deal with someone's idea of their relationship.
When I'm writing, I'm trying to immerse myself in the chaos of an emotional experience, rather than separate myself from it and look back at it from a distance with clarity and tell it as a story. Because that's how life is lived, you know?
I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.
I want to create situations that give people something to think about.
I do have some theatrical background. I've written plays and seen plays and read plays. But I also read novels. One thing I don't read is screenplays.
I try to make things interesting and thought-provoking.
I think of myself as a guy who tries to write screenplays and now has tried to direct one. Anything more than that is meaningless and it gets in the way of being a real human being.
Sometimes I don't like the books that I'm reading.
I think I've had pretty good experiences for the most part with the people who have directed my screenplays.
Directing is a more pragmatic experience, where you have to deal with the restrictions of time and money that force you to make certain decisions you don't have to make when you're writing.
I like actors - I used to be one.
As a kid, I had a background in theater.
Before you start production, you have characters you have created without actors in mind, then all of a sudden you've got actors. They bring an enormous amount in creating these characters, and creating the dynamics between the characters that you've written.
I feel like I want to keep moving toward idiosyncracy. Personal, personal, personal.
I tend to not only read reviews, but also every little stupid thing online. It's a very bad idea, and there's a lot of angry people in the world. And it's weird to absorb all that weirdness.
I actually think I'm probably more interested in structure than most people who write screenplays, because I think about it.
I think if something resonates, even if it's surreal, it's because it is relatable and I think that that's a core issue for me.
Everything I've written is personal - it's the only way I know how to write.
I graduated from college in 1980.
I've kind of come to the conclusion that what passes for realism in movies has nothing to do with reality and that my stuff is more realistic than that.
In a lot of movies, especially big studio ones, they're not constructed in any other way than to get people to like them and then tell their friends. It's a product.
I think if I've worked anything through with screenwriting it's that I'm not going to be able to work anything through.
I don't think screenwriting is therapeutic. It's actually really, really hard for me. It's not an enjoyable process.
I don't write genre stuff in any form. I'm not interested in it. I always try to do the opposite of that.
