After college, rather than pursue real work, I joined a folk group and sang in coffee houses and nightclubs, an occupation that does little for the intellect and even less for the complexion.
I don't believe in jogging. It extends your life - but by exactly the amount of time you spend jogging.
As I started to develop as a director, I wanted to do projects that were inherently more cinematic, where the freight was not so much in the dialogue, where it would be carried more by the camera.
I now believe that there's only a certain amount of good luck in the world, and so if something good happens to me, that means something bad has to happen to somebody, somewhere.
Music pulled me like a gravitational force. I entered college as a physics major but left as a Bachelor of Music, a degree with the same practical application as, say, one in the History of Chinese Poetry.
You can't really think about more than one movie at a time. You're thinking about it consciously, and the subconscious is working too, and if you cram too much into your head, you don't get any ideas in the shower.
Wanting to be a screenwriter is like wanting to be a co-pilot.
O.K., helplessness is repugnant to me, as a father, as a piece of protoplasm. My parents were activists. I don't believe you can't do anything.
If I weren't a film maker, I'd probably be a handyman.
New York and Los Angeles are really one city, and the rest of the country is America.
Comedy comes easily to me, and so for me, comedy is suspect.
I secrete jokes like the pancreas secretes... whatever the pancreas secretes.
I think there's just too much comedy. Sometimes I get requests from people: 'How do I get into comedy?' And I always say that what we need is more people in health care. And less people in comedy.
There is a pool of references in New York and Los Angeles that are almost exclusively drawn from the media, from the world of television and advertising.
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