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Projects Quotes

“I think it's very important to remember that so much of the work that gets done between countries is not done at the level of presidents, but is done within various agencies, whether it's law enforcement or economic ministries. And when they establish relationships and systems of communications and shared projects and shared visions, those structures continue even after any particular president is gone. It builds trust and understanding between countries that are critically important.”

“In a sense, I never got over Robert Lowell's History. A flawed, infinitely brilliant project I never tire of going back to. It's a modern Inferno, where Lowell plays both Dante and Virgil, guiding us through dozens of illuminating, bitter episodes from human history, all the while managing to hold a mirror to our confused hominid face as it squints at eternity and fails to grasp any of it.”

“I was very combative as a creative person at that time [while The Ben Stiller Show]. I didn't understand how to play politics with the studios. I didn't know how to creatively collaborate with the people who were paying the bills, and that came up all the time on every project I was doing, and it took me a really long time to figure out how to collaborate in a healthy way.”

“I still think have this deep desire for our Himalayan Trust - that we raise the necessary funds, that we do all the things that the Sherpas want us to do, and I would like to see us working together with them on these projects. Even though I'm old and decrepit I still have this strong feeling that I would like to carry these things out if it were still possible.”

“I've been with that project [ Sausage Party] since its inception, since they wrote the script. It took them four years to get anyone to make the movie, because it was so filthy and there was this firm belief that there wouldn't be a market for an adult animated film, even though 10 or 15 years prior, South Park [Bigger, Longer, And Uncut] did really well.”

“It had been awhile since anyone had made a movie like that [ Sausage Party], and it took them a long time to get anyone to agree to do it, because they were unwavering on the tone of the movie being so ridiculously filthy. Seth [Rogen] and Evan [Goldberg], for as successful as they are, this was their passion project that they couldn't get off the ground.”

“Both [Donald] Trump and Bernie [Sanders] got to this idea of the vanishing middle class sooner and with more passion than more mainstream politicians, and benefited from it. The difference, of course, is that Bernie understood this in a more compassionate framework, and talked about it in conjunction with a revitalization of another part of the American project, which is the notion that we are all created equal, and that our laws and culture and action ought to reflect that.”

“There came [a script called] “Dracula Sucks.” Now, I liked “Dracula Sucks,” but we gotta change [the title]. They said, “If you like that, you’re going to like this: ‘Zorro the Gay Blade.’” I decided I was going to go out and raise the money and develop my own projects. And that’s what I did. I made “Love at First Bite” and I made “Zorro the Gay Blade.” [Script rewriter Hal Dresner] and I put together “Zorro” in about eight weeks.”

“The lessons learned on a pure practical production standpoint were immense. It instilled a faith that you can accomplish what you want if you just believe and stick together and continue to work at it. In that sense, it gives me the confidence to go into the next project with the belief that we can do it. This was an experiment in whether you can find a film without a singular conceit.”

“When I got into film school, it really formed a sense of who I am and my sense of feeling like an outsider. If there was some greater purpose to do this, it would be so that future generations - my kids or my sister's kids - would grow up seeing themselves in their media culture in a way that I didn't. If The Mindy Project or Master of None were on when I was growing up, I wonder if I would be interested in doing this at all”

“I've been with the project for like three years: creating it, pushing it. [There] becomes a certain doubt when you're pitching this story to people. ["The Land" is] a cautionary tale. It's not the brightest or best ending to a film when you're telling a cautionary tale about four kids, kids who are killing each other, kids who are products of the streets.”

“There's a page in #2 where I did one of the most interesting pages I've ever drawn. I had to think, "This is a big, blockbuster comic book." You're prepared to be more fan service-y or bombastic. Yet I did one of the most challenging pages I've ever drawn, and it was incredibly satisfying to do that on a project like this [All-Star Batman].”

“There isn't a river or creek in the country - or there are very few - that doesn't have some small group of people working on a restoration or creek cleanup project. Let me give you one example that's a great metaphor: In Washington, D.C., there is a group called the Anacostia Watershed Society. Two rivers converge and define Washington - one which everybody knows about, the Potomac, and the Anacostia, which they don't. The Anacostia is one of the most polluted urban rivers in the country.”

“The bigger problem still is that it determines in many ways what movies get made in the first place. Because as sources of finance are considering a project, they ask themselves, "Does this lend itself to a simplistic marketing approach which will guarantee a big opening weekend?" As a movie-goer, I think that's tragic, because when you look back at those movies that made us fall in love with movies in the first place, most of them were not high-concept, and most of them would not have "won their weekend."”