Grief changes shape, but it never ends.
Keanu Reeves
It's always wonderful to get to know women, with the mystery and the joy and the depth. If you can make a woman laugh, you're seeing the most beautiful thing on God's Earth.
The simple act of paying attention can take you a long way.
When the people you love are gone, you're alone.
Money doesn't mean anything to me. I've made a lot of money, but I want to enjoy life and not stress myself building my bank account. I give lots away and live simply, mostly out of a suitcase in hotels. We all know that good health is much more important.
Falling in love and having a relationship are two different things.
Sure I believe in God and the Devil, but they don't have to have pitchforks and a long white beard.
I am not handsome or sexy. Of course, it's not like I am hopeless.
Kissing someone is pretty intimate, actually very intimate, and your heart always kind of skips a beat before you do that.
Here comes 40. I'm feeling my age and I've ordered the Ferrari. I'm going to get the whole mid-life crisis package.
Energy can't be created or destroyed, and energy flows. It must be in a direction, with some kind of internal, emotive, spiritual direction. It must have some effect somewhere.
I mean, I went to a Catholic boys' school for a year, but that was to play hockey. Religion class was quite contentious for me.
People were saying that David Geffen and I had gotten married and it just blew me away. Not that they thought I was gay, but that they thought I could land a guy that hot.
I'm Mickey Mouse. They don't know who's inside the suit.
I'm sorry my existence is not very noble or sublime.
It's the journey of self, I guess. You start with this kind of loner, outside guy, which a lot of people can relate to, and he goes out into the world.
I'm a meathead. I can't help it, man. You've got smart people and you've got dumb people.
It's fun to be hopelessly in love. It's dangerous, but it's fun.
I'm a meathead, man. You've got smart people, and you've got dumb people. I just happen to be dumb.
I had the classic 40 meltdown. I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.
I try not to think about my life. I have no life. I need therapy.
When I don't feel free and can't do what I want I just react. I go against it.
Letters are something from you. It's a different kind of intention than writing an e-mail.
The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.
How do I confront aging? With a wonder and a terror. Yeah, I'll say that. Wonder and terror.
On a good night, I get underwear, bras, and hotel-room keys thrown onstage... You start to think that you're Tom Jones.
Because we're actors we can pretend and fake it, but I'd rather the intimate investment was authentic.
I used to have nightmares that they would put 'He played Ted' on my tombstone.
My name can't be that tough to pronounce!
Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.
I mean, if you didn't get it or if you didn't feel like you enjoyed it, sometimes that experience can change.
I believe in love at first sight. You want that connection, and then you want some problems.
I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.
I've been pleased to work with so many wonderful stars through the years. This has been an amazing journey. I hope it continues.
I just felt that if I went into Speed 2, I just... wouldn't have come up out of the water.
I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
Mortality is very different when you're 20 to when you're 50.
Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.
And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.
I want to make a good, solid kung fu movie.
I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.
Eventually, it came to this place like, 'I'd like to direct, but I need to find the story to tell.' 'Man of Tai Chi' became the story to tell.
I do think there must be some kind of interaction between your living life and the life that goes on from here.
But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.
I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'
You know what, I'd done an interview show when I was like 16 or 17. One of my first jobs. I did interviews for this television show in Toronto.
I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.
When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.
I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.
