JAMES TOBACK

Use people whom you're excited by and who share your excitement... The ideal collaboration is one in which the actor and director are saying to each other, 'I can't believe how lucky we are to be making a movie together.'

Most of my movies get about a third raves, a third vicious attacks, and a third in-between.

I write fast, I write beautifully, I write convincingly.

I know a star when I see one.

You will never convince anyone to do anything unless you believe it should be done.

The idea that there aren't mistakes made constantly in the judicial system is too obvious even to need to mention.

I think that one of the things that is happening in the so-called "clash of civilizations" is that the confidence that was once obvious in the Western Judeo-Christian tradition has been weakened tremendously. There's a feeling that there's a cynical, corporate layer that's really driving it - one that's ready to compromise - and that the real confident energy around the world is coming from Islam, that the believers take their own faith at face value and with great confidence and in far greater numbers.

Some people get married and they remain "I," some get married and become "we."

What am I hanging around for? But I'm hanging around because it's still fun.

Death is a part of life, and eventually I assimilated that completely.

The collaborator has to be someone who understands that his role is to help you articulate what you want, but at the same time is not just going to be mechanically obeying, but adding to, supplementing, and coming up with stuff.

Boxing is not coming back. There's not going to be a new Ali or a new Tyson. What's happened to movies is happening to boxing-that is, too much availability of alternative, similar entertainment. Movies started to become diluted with the advent of television; that has been mirrored by the dilution of boxing, with kickboxing and absolute, extreme homicidal fighting.

I'd been basically anchored in New York for three years, but I fled to L.A. after the funeral and decided that I had to start a movie immediately. It was the only way to avoid becoming overwhelmed by depression. And that meant financing the film myself because there is no such thing as "immediately" in movies that one writes.

To have six billion people on Earth, two billion of whom are carrying around a warped view of you? That has to register.

I work seriously with complete integrity. I never, never, never have offered a part to anyone who didn't deserve it, and I've never not delivered when I do offer a part. My word is better than a contract.

I felt, "Oh, film is a great art because I can pull in music and visual imagery, and it has its literary aspects and drama." Film was a sort of Wagnerian synthesis of the arts, as opposed to opera, which Wagner had thought would be. That's another art form that has seen its best days.

In a way, I think that the movie Fight Club [1999] did a weird, negative thing to boxing, culturally. I mean, it is sort of similar to what has happened to the novel. For however many good novels are written, the novel itself has completely lost its place.

When people are temperate in their behavior, in their lives, someone who is addictive or extreme or obsessive can't understand how people can just go through their lives in the middle, and people who are rational and balanced can't understand the opposite. I'm one who's in the extreme camp in almost every area of my life and I always have been. I've observed that I'm in a minority, but I never understand people who are measured.

I think there's a general sense that the belief structures that existed and carried civilization forward have weakened to the point where they can no longer support it. They are not powerful enough to do it anymore because there is not enough serious belief in them.

I feel like Alain Delon, who once said, "It doesn't matter that I'm not a star in America because I'm a huge star in France, I'm a legend in Spain, and I'm a god in Japan.

It's hard to give a dramatic shape to even the most dramatic life. . . . you are forced not just into selectivity, but into alteration, distortion and outright lying about what did and didn't happen.

I've struggled seriously to make movies with very little money, that I write, that I direct, that mean my life to me. The idea that I would offer a part to anyone for any other reason than that he or she was gonna be the best of anyone I could find is so disgusting to me. I don't give my best friends parts unless they deserve them. Ever.

[Robert Downey was being singled out for] selective prosecution. He's a sweet guy who never did harm to anyone except himself. He's been doing drugs for 20 years and functioning for 20 years, and in those 20 years there've been hundreds of people who've been getting high constantly and behaved very destructively and have not been arrested. Robert's real problem is he gets caught.

Much as I like getting awards in Oldenburg, Germany and Torino, it's nice to get one in America.