I really enjoy those characters like 'Profit.' With those elements that are shady and dark, you're not responsible for being a likable character. Like some of Jack Nicholson's characters, you remember them for so long.
I am a novelist. I traffic in subtleties, and my goal in writing a novel is to leave the reader not knowing what to think. A good novel shouldn't have a point.
With While You Were Sleeping, it was so much fun and such a Cinderella story, that I didn't want to do another romantic comedy. I wanted to do the opposite.
Hollywood can't stand heroes who aren't sympathetic.
I went to film school so I have a writing and directing background, and I think a lot of the material I'm interested in writing and getting out there is stories about anti-heroes and people you should just not ordinarily root for - trying to figure out a way of appealing to people they wouldn't normally appeal to.
You can't do the end of the world in a conventionally dramatic way or Boy Meets Girl way.
Kubrick has a divining rod for the concealed, alienating secrets of characters.
One of the things I've learned in playing a character like Becca from 'You're the Worst' is that there really is such a joy and freedom in behaving badly and in being a character that you do roll your eyes at. She's just so delicious to loathe.
Be it the team or script, everything about 'Imaikkaa Nodigal' is special to me. The script is nothing like what I have done before.
'Among Friends' was really well written and had strong characters, and while all the elements were there to make it a great genre film, it also left room for me to put a creative flair on it that wasn't your typical slasher or psychological thriller.
My stupid ambition is to make a film that's not like any other - one that has its own kind of logic and hooks viewers without making them think too much. It's a film I'd love to see, one in which after 10 minutes the audience isn't able to predict the whole thing.
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 like it when a script shows you something new, and you can learn something through the journey of a film rather than being told things you already know.
If there's one thing that television doesn't really do, and has never really done, is to tell a surreal story.
I loved 'Junebug.' It was one of my favorite films, my favorite type of film.
A film that I love is 'Raising Arizona' and that's funny but it's quite indie and weird and odd and quirky. I'd love to do something like that. Who knows?
I don't enjoy watching action films, but I loved films like 'Rust and Bone' and 'The Beat That My Heart Skipped.'
I think you should check out 'Battle: Los Angeles' because it really is a sci-fi movie, but it's not. It's not like anything you've seen before. The best way to describe it is it's a war movie that happens to have aliens as the enemy.
The idea for any film is always going to be surprising or unusual.
I would do 'American Splendor' and 'About Schmidt' again in a heartbeat.
I'm not really interested in doing a traditional romantic comedy where everything ties up neatly.
The Sugar Frosted Nutsack is dizzyingly brilliant. Mark Leyner is a hyperkinetic shaman, who flies the banner of rum and candy and writes like a one-eyed feral bandit. His new book is supremely original, delirious and synapse-shattering.
Life is like a B-picture script! It is that corny. If I had my life story offered to me to film, I'd turn it down.
I really loved Twin Peaks. When I saw the two-hour pilot, they screened it in the big theatre. I said, I don't know what is going to happen. I'm in this and I don't understand it. This is never going to sell. Who's going to watch this thing?
Agatha Christie never wrote books that just started with a dead body, and a 'Let's find out who the murderer is', which is kind of mysterious but not that mysterious. She always started with, 'How can this thing be happening; isn't it strange?'
