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“I'm hard-nosed about luck. I think it sucks. Yeah, if you spend seven years looking for a job as a copywriter, and then one day somebody gives you a job, you can say, Gee, I was lucky I happened to go up there today. But, dammit, I was going to go up there sooner or later in the next seventy years. If you're persistent in trying and doing and working, you almost make your own fortune.”

“Of course, we're so lucky to be in a time where that's not our reality anymore. I just thought it was very interesting to go back to that time now, and to look at all of these issues that are still relevant today, but just in such a different way, and to see how we approach them and try to overcome them. Yeah, we've come a long way with medicine and women's health in the Western world, but in a lot of parts of the rest of the world, that's still a huge issue.”

“Sometimes I think you have to try to do things that people don't think are doable. I remember at the very beginning actually, the first person I had to convince was myself really because there's a self-censorship. When everybody says 'we don't do silent movies anymore,' you agree with everybody, and you say 'yeah, you're right.' It was a fantasy.”

“Um, yeah, it's one of the things that you kind of have to accept at the very beginning, like I'm not going to try and be super [deep?] factor and no, I can only do it this way, because that's just not how this film's going to work. Like it's got to be sort of a mesh of reality and complete unreality and you kind of have to accept that and go with it.”

“My friends are trying to get me to go out on blind dates. Big 'NO' to that because all my friends are a bunch of lying geeks. They're always like, 'Brian, you're really gonna dig this girl. She's got Traci Lords' eyes, Michelle Pfeiffer's nose, Kim Basinger's lips.' Yeah, they always forget to tell me she's also got Charlie Brown's head.”

“I enjoyed being what I was in radio, which some thought of as a shock jock although, to this day, I still can't figure out what I've done that's so shocking. As to my favorite interviews, I loved having my mother and father on. I also enjoyed talking to Elmo, who's a puppet. I found T.I.'s trying to be extra-cool very endearing. Tyra Banks was not the diva I expected her to be. I loved talking to her. And Simon Cowell is a really nice guy. Yeah! He's my fave, and he's handsome.”

“For years, people always say, "Ah, what about the dunk. It's still two points." But it energizes a team. If you're down and you get a monster dunk, everybody gets psyched. "Oh yeah, let's go, let's go." So it was dying down a little bit and guys, I think, they took it upon themselves. They got energy on it and started trying different stuff.”

“My personal success would be that people understand what I was trying to do. It was the most palatable when I watchmen_7_mdid Dawn. With Watchmen, too, I feel the same way. The movie's ironic and satirical and it's funny and serious and that's kind of the same way I felt about Dawn. Like I really was making a movie that knows it's a zombie movie and enjoys that and wants the audience to say, yeah, that's okay.”

“I got a parking ticket one time in L.A. and I was furious about it. I was trying to prove a point to the guy who gave it to me and I put it in my mouth and chewed it up. And the guy just kept watching me, like, "Yeah?" He didn't think I was going to finish the job. So then I swallowed it. The good news is that paper is not a big deal if you eat it.You'd be full, but you could eat the phone book. So that was the weirdest thing: a parking ticket.”

“On the flip side, I've also had to struggle with saying "yes." Before I did this research and before I had my own breakdown and spiritual awakening around this work, my motto was, "Don't do anything that you're already not great at doing." Which I think is the way the majority of adults in our culture live. Authenticity is also about the courage and the vulnerability to say, "Yeah, I'll try it. I feel pretty uncomfortable and I feel a little vulnerable, but I'll try it!"”

“Yeah, on the records, the guitars are made melodic, and I try to make it memorable. There's not much just wanking, to be honest - it's mostly melodic parts. I try not to play too many notes. It's just more instrumental music. It's a totally valid criticism if you don't like that kind of thing. It also is maybe a little anachronistic or unnecessary in a certain way.”

“I don't have like whatever, so I'm just like, "Oh man, I'm just going to try to stay out of most people's way and get a taco and enjoy myself as much as I can," because it's such a beautiful town. Beautiful weather. I called my dad that day to tell him what was going on with my passport and he was like, "Yeah it snowed four inches today. It's ten degrees outside." I'm just like, "Cool. I'm glad I'm in Austin, no matter what."”

“As soon as you think you have a firm idea you allow it to dissolve and you let go of it, particularly when it comes to a stylistic or aesthetic identity. In fact, you only really find out what it is when you deconstruct it; so, yeah, that's a sort of collage sensibility of having a lot of voicings coming from all over the place and not necessarily trying to shape them or try to commodify them. It keeps you in the living language... an opportunity to not be governed so much by intellect.”

“I was over at Alison's [McGhee], I think we were playing Scrabble. I remember we were both complaining - yeah, we sound like whiners - about how hard writing is, and how we didn't have a story to work on. Alison said, 'Why don't we work on writing something together,' and I said, 'Eh, I don't know if I could work that way.' She said, 'Well, just show up here and we'll see,' and I said, 'Well, what would it be about?' She said, 'Duh, it'd be about a tall girl and a short girl.' So I agreed to come and try it for a day.”

“I have been acting for almost 20 years now. At first it changed in my focus and how much I wanted to act. When I was younger, it was so much fun, and I really wanted it, but it was not competitive. Then I became a teenager and it became kind of competitive and not as much fun. I pulled back and I got lazy about it, where I was like, "Yeah, I guess, I'll do small parts in cool movies," but I wasn't really trying to say anything.”

“I jump out of the boat [in The Lost World], and I'm trying to swim to the kid, and my boots fill with water, and I start to drown, and the director has no idea why I'm flailing around. He's, "Come on, come on!" And I managed to rescue myself. I'm wet and sitting on the banks of the river, and John walks over to me and says, "Are you all right, dear boy?" "Yeah, I'm all right."”

“I don't speak cockney and I don't pretend to come from that part of the world. For the longest time the English, like the Beatles and so on sounded American. "She loves you yeah yeah yeah!" All of the sudden you sound American. It doesn't work that way with Americans who try to sing English. It's not convincing. If I say "Footy" and "tele" and "Brissy" and "Sydney" and "Simmo" it's not convincing.”

“My first film I made, "Permanent Vacation," we shot in 1979 for like $12,000, part of which I got a fake car loan for that Amos Poe told me you could do that. And, yeah, I had no idea what I was doing. It was just like, well, we're going to try and do this. Partly because I had been following Amos Poe and Eric Mitchell around for about a year, and I worked on some of Eric's films as a sound recordist and stuff.”