When you see the films of certain young directors, you get the impression that film history begins for them around 1980. Their films would probably be better if they’d seen a few more films, which runs counter to this idiotic theory that you run the risk of being influenced if you see too much. Actually, it’s when you see too little that you run the risk of being influenced. If you see a lot, you can choose the films you want to be influenced by.
Facebook is Kafka with a thumbs-up button.
Telling someone you love them for the first time, or that they’ve hurt your feelings, or a thousand other scary things can take more courage than any amount of action.
When people are talking about something they know well and do well, they’re almost always interesting. And if they’re not, it’s generally your fault because you’re not asking the right questions and you haven’t made them comfortable.
Fiction is the most refined; it’s like working with a watchmaker’s tiny tools. Then I switch over to a script, and it feels like I have big clumsy gloves on, but clumsy gloves are good for symbolic movement. And then art—that’s like no hands at all—is just letting mystery stay inarticulate. Which is its own kind of precision when it works.
My theory is that the innovators are the ones that open the door to things, and then behind them there’s a huge crowd and they are trampled by the crowd behind them.