My first car was kind of sad....
My first car was kind of sad. My first car was when my parents had completely worn out their Toyota Corolla that they had for 16 years or something. They gave me, for my 19th birthday, this really ancient Toyota. So that was my first car. And I loved it. I thought it was amazing, and I drove it cross-country. It was not aesthetically appealing in any way. It was it fast. It did not handle well, but it lasted forever. I drove cross-country and back, and then I gave it to my sister, and she drove it for another 10 years.
How to make a scary movie hum...
How to make a scary movie human, take a movie like Sinister. How can I make that guy so real so that the scary elements of it are more scary and it functions as a genre movie - as the way it's supposed to, you want to hear a ghost story at midnight, that's a good one - but how do you fill it up with humanity inside, in staying true to the genre? You know? Does that make sense?
Its difficult to do a genre f...
Its difficult to do a genre film well, and it doesnt matter if youre talking vampire movies or Dawn of the Dead or The Thing or Escape From New York. Those kind of movies, they understand what the old-school B-movie is supposed to be, they get the throwback of it.
Have this Chet Baker movie co...
Have this Chet Baker movie coming out and in that situation, I went down the rabbit hole studying Chet Baker and being obsessed with the period and the music and the relationships and the dynamic, and everything, drug addiction. There was so much I wanted to get at to kind of get at the truth. With Regression, I was certainly in Alejandro's [Amenabar] hands.
It's interesting to get older...
It's interesting to get older and realize that part of your job growing up in this profession is to help the next generation. More and more, with Boyhood and with Ellar Coltrane and with Emma [Watson], I start to see that role. There's no better way. Nobody wants advice, so you can't really give it. You just have to try to wish them well on their journey.
It was when I was on the set ...
It was when I was on the set of Dead Poets Society.There was actor,his name was Norman Lloyd. One day he took us all aside and said, "You guys don't even understand what a powerful experience you're having. You don't really understand what a gift this is." We were going, "What does he mean?" It was that really wonderful opportunities aren't to be taken for granted. I often found that it had embedded itself in my memory.
I'd really rather that nobody...
I'd really rather that nobody had a gun, and then nobody would have to worry about it. That would be more my theory. In America, there's this knee-jerk response that more walls and more guns make people safer, and I'm entirely suspect of that way of thinking.
I did this movie right after ...
I did this movie right after it about the life of Chet Baker. It's called Born to Be Blue. In that situation, there's a real clear character you're drawing on. It's a real person. It's really exciting and interesting to do the research to figure out how to make that a nuanced, three-dimensional human being.
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