I think storytelling is a thing of beauty, and also very difficult. It's a craft you have to continue to work at.

I'm not a website guy, although I'm not a Luddite, either. I have looked at a computer, but I don't go to PopSugar and Goop and all that.

The decision about digital or film is going to be made for us. I think the answer is that film is gonna be gone, although I think it'll make a comeback; it'll be like vinyl records or something.

I have three young children, and I kind of stopped going to movies in 2006. I go to see some, but I'm a little bit out of touch, and I didn't know who Marion Cotillard was.

The sad truth for American actors is that they really have no control whatsoever over the material that they get, or can do, particularly actresses. And if you're over 40 and you're an actress, forget it.

'Apocalypse Now' does not alienate us or deconstruct itself. In fact, it welcomes us in.

'Apocalypse Now' poses questions without any attempt to provide definitive answers, and the film's profound ambiguities are integral to its enduring magic.

The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.

It's the demand of all demands to do a car chase that's unique because there are so many... really since the beginning of film, even in the silent era, 'The Keystone Cops.'

It's very difficult to put your finger on why a certain actor or actress will capture your attention, and you'll think they're right for a role. There's an essence to a person.

I was going to Studio 54 when I was 12 years old. It's true. It's crazy.

The state of being in love is so inherently preposterous. It usually lends itself to romantic comedy. I think we've all been there.

I don't envy the job of people who have to watch five movies a day - that's insane.

I think to be a movie critic is troubling from one major respect. If you are forced to watch ten movies a week, it's really only something you can do for a few years. After a while, it's a bit too much.

I don't think my parents told me enough how the world doesn't really care about me. I think it's important to tell children that the world doesn't really care about you. You have to fight to be heard.

I would love it if my films made a lot of money, and may I say that 'The Yards' is the only one that's lost money.

I've learned that you can never predict what will happen to a film. You can never predict if people will love it, if they'll hate it. It's an act of ego if you're hoping for everyone to love the film and tell you how great you are.

The films I grew up loving, and the art that I love, is not generally the kind of postmodern ironic winking stuff. What lasts is the stuff in which the artists are totally in league with the subject.

All I can say is sometimes home gets burned into your occipital lobe, and it can't leave you, and there's always that longing.

It's much easier to make a movie with kind of stylistic pyrotechnics because you can hide behind that if there's a gap in the story.

I have no athletic skills whatsoever. I'm just literally incompetent.

Baseball is the greatest thing in the world.

I've been a Yankees fan for a long time. When I was a kid in the mid-'70s, the Yankees were really great. They had Reggie Jackson in '77. I was 8 years old at the time. He hit three home runs to win the World Series in game six against the Dodgers, and I was just hooked.

There are very few movies in English about romantic obsession told with a seriousness of purpose.