Before Sunrise did very well internationally. It made as much in Italy and Korea as it did here.
Everyone is encouraged to see their lives, the world through the eyes of the rich.
Filmmakers are going to make films, just like painters are going to paint.
Hollywood has a way of sucking the world's talent to it.
I always sensed instinctively from the earliest age that I was being lied to.
I did The Newton Boys and during the whole process of making the film, I may have spent a week in Los Angeles.
I do find myself at the moment, due to the success of School of Rock, to be on people's radar a little.
I don't want to glorify robbing banks, but I come from a world that shares Willis's view, that banks and so on are the biggest crooks of them all.
I like Ken Loach, Mike Leigh. These are the British filmmakers who haven't sold out, who haven't got hired by Hollywood.
I lost a year or two in there, trying to get films financed that I didn't know would never get financing.
I never liked school that much, I never fit into any kind of academic program. I never liked official systems of any kind.
I think I got really lucky with Slacker. That was a film that probably shouldn't have been seen.
I think maybe making films is something innate you can't really teach to begin with.
I think there are more films being made, but there are probably less outlets for them and distributors.
I think you get in trouble if you make experimental big studio films.
I want to make a film about a factory worker.
I worked offshore as an oil worker for a couple of years.
I'm excitable about weird, small projects; that's how my mind works, so you'll get a Tape, a Before Sunset, or a Waking Life.
I've always been most interested in the politics of everyday life: your relation to whatever you're doing, or what your ambitions are, where you live, where you find yourself in the social hierarchy.
I've always liked the minds of criminals, they seem similar to artists.
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.
I've never done a commercial or directed a music video. I only want to do my films.
It's disappointing to see films become pure entertainment, so that it's not an art form.
It's luck that one thing works out and one doesn't, it's sort of happenstance.
Just like you can't stop filmmakers. The films will get made, somehow, some way, no matter what's going on, and worldwide.
No one is asking what happened to all the homeless. No one cares, because it's easier to get on the subway and not be accosted.
So I was saving up my money and bought a Super 8 camera, projector, some editing equipment, a bunch of film stock, and moved to Austin.
Something about Texas I'm not proud of is that our state murdered 37 people last year alone.
The truth will only be told over a career.
The way that films are released now it's hard to be a word-of-mouth film, where it grows, the way a hit single used to grow.
The worst thing is that you used to be able to show interesting films on campuses. Those places are all gone.
Well, you have to keep your faith in the fact that there are a lot of intelligent people who are actively looking for something interesting, people who have been disappointed so many times.
Whatever story you want to tell, tell it at the right size.
When you're dealing with studios, if you have a big failure hovering over you, it just looks bad to the stockholders.
Yes, but Hollywood is the strangest place in that they'll torpedo their own film to prove an emotional point.
You're talking about the outsiders in society and how they deal with it and how they justify what they do. I can relate to that.
Richard Linklater's indi film Slacker, is the movie that inspired Kevin Smith to become a film maker and make his indi film Clerks.
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