I just noticed recently that in one book after another I seem to find an excuse to find some character who, to put it idiotically simply, is allowed to talk crazy.
I never understood a word John Cassavetes said. And I think he did that deliberately.
You won't find me in a romantic comedy. Those movies don't speak to me. People don't come to talk to me about those scripts, because they probably think I'm this dark, twisted, miserable person.
I always say that you don't have to like 'The Room', but you will discover something - maybe a tiny little thing - and say, 'Wait a minute, maybe I want to see more.'
I would do 'American Splendor' and 'About Schmidt' again in a heartbeat.
A lot of the 'Portlandia' characters and a lot of the moments aren't really TV-worthy, but that's what is so refreshing about seeing them.
Talking with you is sort of the conversational equivalent of an out of body experience.
What's interesting is the show allows for the awkward pauses to be captured, which makes it stylistically unique, especially for American audiences.
It's great finding a comic book character that doesn't care about following traditional comic book rules by breaking the fourth wall and being explicit about everything. This gives Deadpool the arrogance which you just have to love.
Hemingway was a prisoner of his style. No one can talk like the characters in Hemingway except the characters in Hemingway. His style in the wildest sense finally killed him.
'Alemaari' is an experimental cinema of sorts. If audiences don't understand it, the film will fall flat.
I love South By because people are more relaxed here, and people are a little more off guard. They say things and react more freely than Sundance or Cannes. I love the feel of this festival.
Would we even recognize an Oliver Stone production if it didn't kick up the usual fuss?
