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When You're In Love, You're Asking Someone Else To Fulfill All Your Unfulfilled Needs, To Make You Whole, And To Make You Feel Good About Everything, And No One Can Do That.

-Richard Linklater

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When You're In Love,

Richard Linklater

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When You're In Love, You're Asking Someone Else To Fulfill All Your Unfulfilled Needs, To Make You Whole, And To Make You Feel Good About Everything, And No One Can Do That.

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I've Never Been A Guy Who Had More Than A Toe In Hollywood Anyway, So My Toe Is More Easily Lopped Off Than Most.

There Are A Million Ideas In A World Of Stories. Humans Are Storytelling Animals. Everything's A Story, Everyone's Got Stories, We're Perceiving Stories, We're Interested In Stories. So To Me, The Big Nut To Crack Is To How To Tell A Story, What's The Right Way To Tell A Particular Story.

Normally My Process Is To Sit In A Room And Read A Script And Talk About It And Ask Questions And Just Create A Dialogue. That Goes All The Way Through Shooting. All Kinds Of Thoughts And Ideas Can Find Their Way In There. As Long As You're All On - We're Just All Trying To Tell The Story So My Job As A Director Is Just To Find Out What This Film Wants To Be Based On, It's Just Words On A Page At Some Point But Then It Just Needs To Go To Some Level Of Believable Storytelling. I'm Discovering The Film As I Make It, To Some Degree.

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All The Women Are Going Around Saying, "oh, We're Just Friends, We're Just Friends," But The Guy's Going, "yeah, We're Friends, But As Soon As She Breaks Up With Her Boyfriend, I'm Hoping To Move In."

Hollywood Has A Way Of Sucking The World's Talent To It.

The Rules Of Parenting Have Changed. By The Modern Definition, We Were A Generation Of Neglected Children.

I Think I Got Really Lucky With Slacker. That Was A Film That Probably Shouldn't Have Been Seen.

To Those Humans In Whom I Have Faith; I Wish Suffering, Being Forsaken, Sickness, Maltreatment, Humiliation. I Wish That They Should Not Remain Unfamiliar With Profound Self-contempt, The Torture Of Self-mistrust, And The Misery Of The Vanquished. I Have No Pity For Them Because I Wish Them The Only Thing That Can Prove Today Whether One Is Worth Anything Or Not—that One Endures' . . . Remember, The Passion For Destruction Is Also A Creative Passion.

I've Always Liked The Minds Of Criminals, They Seem Similar To Artists.

When You're In Love, You're Asking Someone Else To Fulfill All Your Unfulfilled Needs, To Make You Whole, And To Make You Feel Good About Everything, And No One Can Do That.

Everything That You Could Think About In Life, Or Experience, Or Be Interested In, Theoretically Should Be Expressed Or Dealt With In Cinema. But The Way Typical Narratives Are Set Up, There's No Room For Philosophy, Because It's Just Digressive Material. It's Not Advancing The Plot, So There's No Place For It. It's The Kind Of Stuff You Would Cut Out, And That You Shouldn't Have Put In There To Begin With.

If You Establish Rules And Play By Them, The Audience Will Buy In.

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The Big Nut To Crack Is To How To Tell A Story, What’s The Right Way To Tell A Particular Story.

The Truth Will Only Be Told Over A Career.

I Have A Lot Of Films That I Haven't Gotten Made, And That Continues To Trouble Me. But Someday, Some Way Or Another, I Think I Will. It's All About Timing. There's A Moment When You're Hot And Studios Will Make Your Next Film, And Then There's A Moment When You're Really Cold, And They Couldn't Care Less What You Want To Do Next. That's When You Have To Recede And Make Lower-budgeted Films.

I Have A Lot Of Women Friends - I Feel Like I Finally Matured A Little. But Initially I Was Attracted To Some Of Them. I Liked Everything They Were About. I Think Men Are Just Taught: "okay, Well Then, I Should Try To Have Sex With Them." I'm Just Lucky That It Went In The Friendship Direction, And It Became A Much Stronger Bond That's Lasted A Long Time. You Wonder How Many Potentially Great Friends You Lose Along The Way Because You Become Lovers And It Is So Painful When It's Over And You Can't Turn It Into A Positive Friendship.

Your Friends Are Really An Extension Of Your Vision Of The World. It's Kind Of A Physical Manifestation Of How You Feel. Like Your Soul.

…[thomas Wolfe] Says That We Are The Sum Of All The Moments Of Our Lives, And That, Uh, Anybody Who Sits Down To Write Is Gonna Use The Clay Of Their Own Life, That You Can’t Avoid That.

Memory Is A Wonderful Thing If You Don't Have To Deal With The Past.

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I Didn't Have Any Set Idea Of What Kind Of Filmmaker I Wanted To Be. I Knew I Wanted To Tell Stories That Meant Something To Me, But I Never Said I Was Going To Be The Weird, Avant-garde Guy.

I Think You Get In Trouble If You Make Experimental Big Studio Films.

The Trick Is To Combine Your Waking Rational Abilities With The Infinite Possibilities Of Your Dreams. Because, If You Can Do That, You Can Do Anything.

It's Kinda Like D.h. Lawrence Had This Idea Of Two People Meeting On A Road, And Instead Of Just Passing And Glancing Away, They Decide To Accept What He Calls The Confrontation Between Their Souls. It's Like Freeing The Brave, Reckless Gods Within Us All.

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Editing Rooms Are Kind Of, By Definition, A Bubble Of You And The Editor And What You're Thinking. It's A Truth-telling Thing To Watch It Through Someone Else's Eyes, Is To Get Another Level Of Real With Your Material. Like, "maybe That's Not That Funny. Maybe That's Not As Interesting. Maybe That's Redundant To Something Else. Maybe We Can Cut Down." I Don't Know. It's A Brutal, Honest Process. You've Got To Be Pretty - You Can't Be Sentimental. You Have To Be. It's A Cold Process. You Can't Be Nostalgic. You Have To Make Those Tough Decisions.

It's Hard To See A Film One Time And Really "get It," And Write Fully And Intelligently About It. That's A Review. That's Not Film Criticism. And There's So Many Expectations Involved, Too. You're Going In To See The Latest Martin Scorsese Or Stanley Kubrick Film, You Really Have High Hopes, And You Can't Help But Find That It's Not Exactly What You Had In Your Head Going In. Until You Can Watch It Again, You Can't Accept The Work For What It Intends To Be. It Takes At Least A Second Viewing.

All I've Learned Is That You Need The Studio System Sometimes, If Your Budget Is A Certain Size, And Other Films You Can Do Independently. When I Think Of A Studio, I Generally Think Of Distribution. Since I'm A Director, I Have A Similar Creative Experience On Every Film I Do, Because I Can Control That. But Then It's A Different Film, I Think, As It Reaches The Public, Depending On The Way It's Marketed. I Don't Know. I Haven't Learned Much Of Anything. Sometimes You Need Them, Sometimes You Don't. Sometimes They Want You, Most Of The Time They Don't.

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I Did The Newton Boys And During The Whole Process Of Making The Film, I May Have Spent A Week In Los Angeles.

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It's Hard To See A Film One Time And Really "get It," And Write Fully And Intelligently About It. That's A Review. That's Not Film Criticism.

If The Animators Could Hide Something So Secretly That I Could Watch It Numerous Times, Both On The Computer And On The Screen, And Not Pick Up On It, Then It Deserves To Be In The Movie. But If They Had More Overt Things, I'd Often Tell Them To Cut It Out. In General, As Long As They Captured The Spirit Of The Character, Then They're Fine. But Sometimes It Took A While, And We Had To Replace A Lot Of Animators.

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It's Disappointing To See Films Become Pure Entertainment, So That It's Not An Art Form.

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Congratulations

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