Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.

I don't usually direct actors in the classic sense of that word. Instead, I try to remind the characters before the shoot what's going on in a very simple way. I then watch them, their inventions as actors, approving or not approving what they're doing.

One of the things that is devastating is I realise I haven't been living a different life than when I was, like, 12. I'm shocked at how reclusive I've been since then. I was unaware of it until recently.

Modern-day cinema takes the form of a sermon. You don't get to think, you only get to receive information.

The rules of suspense are that you do know, and you just don't know when. In the Hitchcock rules of suspense, you are supposed to know that there is a bomb on the bus that might blow up, and then it becomes very tense - but if you don't know that there's a bomb and it just blows up, then it's just a surprise.

I did 'Mala Noche' as a way to do something that was outside of the system, because I was outside of the system, and I deliberately chose material that Hollywood wouldn't touch in a million years.

If you don't have the story and the unfolding of the trajectory of the saga, it's like getting in a car and not having any gas.

For all the boredom the straight life brings, it's not too bad.

I think over the course of 14 films, I'm returning to a place that I know to tell a story... the same way Spielberg returned to fantasy, Lucas returned to the 'Star Wars' saga, or John Ford returned to the western.

Free time keeps me going.

Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly. Maybe I'm drawn to it as a story element.

You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.

I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.

I find it interesting, the different rules that apply to journalism and drama, even though journalism has become more and more about entertainment, and entertainment has become more and more about journalism.

There is a way that a younger person can accept the inevitable problem that they're going to die, whereas somebody a little bit older might be overcome.

Yeah, Kubrick's a big influence. In something like 'A Clockwork Orange,' he is trying to use the practical light - I mean, at least he says that in his interviews, like they're not using traditionally Hollywood lights. In 'Elephant' we basically used no lights; we never really adjusted.

Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family. I've always been attracted to temporary families. They tend to be lost characters.

Usually, when I read something, I'm looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you're losing the through-line of the story.

Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

There is a common theme, though, in the stories I have told, which are usually associations of characters or families that are formed outside of a family circle.

I don't think American independent films have ever really been particularly experimental, except for the original guys from the '60s who were huge influences, like Stan Brakhage, Robert Breer, and Stan van der Beek. They were the true independents.

I think that for the actors, the last thing that they want is a director that's not watching, a director that goes 'Okay, it sounded good to me,' and they were doing something else or preoccupied with something else because they were worried about the light changing.

In rare cases, I've had music before I shot the movie. I think that for 'Good Will Hunting' I had an Elliot Smith record or a couple of them and I just somehow felt like the sound had something to it that reminded me of the story. So in that case there was music beforehand.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way.

When I was 14, I felt very rundown; I had a home to go to, but I felt like I was 60 or something, older than I feel now. And I don't know if it's something that happens at 14, or whether it was adolescence or whether I was gay, or closeted gay, or whatever it was, I felt that.

In high school, I read 'Silas Marner' and I was very attracted to this character - he was very rundown and he'd just stop, and things would happen around him.

I'd come into filmmaking as a painter so, for me, making 'Good Will Hunting' was experimental because I didn't know how to do it.

The artist himself is actually the subject in everything after, say, 1900. Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going on.

My department is to get actors to do stuff.

The dark comedies tend to be in a non-releasable area. There can be romantic comedies. There can be dramas. But there's no 'dark comedy' inbox for the advertising.