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“Back before 'Brick,' I wrote a short film that I never ended up shooting: hit men in the present who work for a mob in the future who send their victims back in time. A guy is sent his future self, he lets him run, and the whole short was them chasing each other across the city. That sat in a drawer for 10 years until after I made 'Brothers Bloom.”

“In theater, there's a lot of discipline involved in doing eight shows a week for a year and a half. It's nice to be able to bring some of that bag of tools with you over to the film world, where you don't have the rehearsal, you don't have an audience. You don't have a month of rehearsal to examine these words, and you meet the guy who's going to play your brother the morning that you shoot the scene. So you need a bag of tools.”

“Nothing drew me to the film business. I was propelled by the fear and anxiety of Vietnam. I had been drafted into the Marines. My brother was already serving in Vietnam. I bought, if you will, a stay of execution - both literally and figuratively - and went on to graduate school of business from the law school that I was attending.”

“I don't think so much about verbal comedy. I always think about visual comedy. I was raised watching silents, and I'm always thinking about how to make cinema, not good talking - although I want good talking. I'm much more interested in framing, composition, and orchestration of bodies in space, and so forth. My goal is always what Chuck Jones wanted his Warner Brothers cartoons to be, which was if you turn down the sound, you could still tell what's going on. I think if you watch most of my films with the sound off, you could still tell what's going on.”

“Mama wrote a letter to my father saying' I want to work with you' and she ended the letter saying' in Italian I can only say ti amo( I love you)' and of course the press used that to say women are sexual predators, in 1949 they made a first film together,' Stromboli', and they fell in love and my mother became pregnant with my brother Roberto before she could obtain a divorce.”

“I could sing and play as well. I've got some brothers; one of them is the drummer in the band. They're good musicians. I play for fun. They play properly. Music in general, I grew up in a house of musicians. Everybody's life has a soundtrack, I'm sitting here talking to you but there are horns beeping outside. I know I'm in New York. That's an element in the film as well. How strong that sense can be.”

“Hot Fuzz in a strange way, for me, summons up the spirit of watching R-rated films that I was too young to watch. I was 14, 13 maybe, when Robocop came out. Seeing Robocop at my brother's friend's house, and not really supposed to be watching it, because it was [rated] 18 and I was 13. That mind-blowing experience, because not only is it a great film, but it feels illicit.”

“I still come from a very working-class family. My mother's still a cleaner. And my brother is the gas man. And my other brother runs a cab. I have become a stratified, different, exotic beast, even more so than I was when I was a young gay man. I just sort of built on that. Now that I've made several films, I don't even know how to placate them with money like so many people do with their families.”

“In America, even the critics - which is a pity - tend to genre-ize things. They have a hard time when genres get mixed. They want to categorize things. That's why I love Wes Anderson's films and the Coen Brothers, because you don't know what you're going to get, and very often you get something that you don't expect and that's just what a genre's not supposed to do.”

“I'm completely surrounded, not only my father, but also my three brothers, and Sergio, my husband, all four of them work in film. Some are writers, or directors, or cinematographers, all of them. I'm surrounded by men that make films, so much that at some point I felt there was no more room in the family for another filmmaker.For many years I was only working as novelist or writing screenplays for others to direct.”

“I flew over to Birmingham and did half a dozen scenes or so as a pastor in the film. I had a great time. I look forward to seeing the final version. I also am good friends with the Erwin Brothers who are co-directing and producing the film with Kevin. They also helped with Courageous. It's kind of a small little family in this arena and we love helping each other out.”

“People are looking at possibly doing some documentaries and also we have the first four films that will stay out there for the years to come. So, yeah, Sherwood Pictures will be around and my brother and I are certainly supporters of that. We can't wait to see what God does not only locally there at the church but what he has for us down the road as well.”

“Warner Brothers had to hire [a stunt double] and no one thought a child could do this. Billy Friedkin came to me before we were filming [The Exorcist] and said "if you do not do all of this film, the film will be a joke." It's why they stripped the makeup down to the bare minimum, a piece on my chin, piece across my mouth that disfigured my mouth. You have scars here. Take away my eyebrows. It was my real hair. Shampoo was put in it that dried.”

“A good portion of my work with Tangerine Dream at the time involved film music, and I remember approaching it as any 23-year-old would - without much fear or respect. Also, Tangerine Dream was typically asked to deliver a monochromatic kind of score, the electronic-analog trademark sound that TD had become famous for following landmark films such as Sorcerer [Universal, 1977], Thief [MGM, 1981], and Risky Business [Warner Brothers, 1983].”

“My roommate in college in Austin, Texas, was Wes Anderson. Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.”

“You try to do as much as you can on set because practical looks cool and practical looks great. Until you get to a point where the reality is you look at it - and I went through this in my last movie which was a war film, which my brother fought in Iraq and I did a ton of research and as much as I could made it documentary-like - and then at some point on set, the reality is somebody says to you, "You know, you can use a real squib and you can have three hours of clean up and you can lose five shots or we can do that blood explosion in post and you can get those five extra shots."”

“Just being able to make exactly what I want with my brother and a lot of my best friend and to have a place like HBO that not only lets you do that, but supports you and puts up billboards in support of it, and really puts it out there for you. That's not something I get a lot in the independent film world where everybody's pinching pennies and nervous about whether it's going to make money or not.”

“I am not anti-man. I am married to a man... I have a father and a brother... I love men. But there is something really lacking when Cake is nominated. How does Julianne Moore win for Best Actress but her film isn't nominated for Best Screenplay? How does Gone Girl become such a critically-acclaimed and box-office hit but its scriptwriter, Gillian Flynn, isn't nominated for Best screenplay. It's disgusting!”

“I like filmmakers where, if their film comes on and you step in halfway through it, you can recognize that, hey, this is a Coen Brothers film. Or, hey, this is a Stanley Kubrick movie. You can recognize some filmmakers. Like, if you put on a Sam Raimi movie, you can tell that it's a Sam Raimi movie pretty quickly. I like a signature style that people can recognize and relate to, and connect with. I think that is part of why we seek out certain directors. We want to see how they view the world.”

“To make a live record - something that has a lot of life in it - is difficult. After slaving away for years in the studio, when I hear a No Age record or when I hear Yeah Yeah Yeahs' first EP or when I hear DRI or really early punk stuff, it's just so powerful, so raw - and I know how hard that is to create. It's very deceptive. It's like a Dardenne brothers film - it seems like just a handheld camera following some people around in a trailer park, but it's incredibly difficult to do that.”

“Rain Man certainly didn't test really well. If you look at it carefully, you have a disease autism they didn't understand back then, they didn't know in the test audience whether it's okay to laugh or not laugh, because it's a film that's done in a way where, "Well, maybe I'm not supposed to laugh." At the end of the film, Dustin Hoffman gets on the train and doesn't even acknowledge his brother. Not even a glance, nothing. That's why the studio said, "Can't you just have him look at Tom Cruise at the end of the film?"”

“In my opinion, having worked in the games industry and still keeping in touch with a lot of those guys, there was definitely a time when they saw themselves as the little brother of the film industry. But they kind of went off in a different direction and now see themselves, I think, as being far more interesting and ahead of the film industry. They haven't just caught up. They've gone off in a different direction and exceeded the film industry.”