Pastoral Resources

I don't film messages. I let the post office take care of those.

We like to think of film and music as art, but actually art is something that is not restricted.

I'd rather have a small part in a good film with good people than play the lead in something I don't really care for.

My movement from painting to film was a very conscious one.

When I made my first film, I didn't think of it as directing, so it wasn't like I set out to become a director.

When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.

One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.

Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.

Whereas painting is a more rarefied art form, with a limited audience, I recognized film as this extraordinary social tool that could reach tremendous numbers of people.

Well, I'm proud to say American Pie was the kind of crazy, gross-out film that guys thought was the greatest.

Each new film is like a trial. Before I step in front of the camera, I do not know whether I am going to fall or whether I am going to fly - and that is exactly the way I want it to stay.

But, you know, when I choose a film I need to believe in it and believe I can do something special with it, and after a while that means not trying to judge or analyze why I should do it. You have to follow this intuition thing, which is a mystery to me.

I have three kids and a wife, and any moments that aren't dedicated to working on this film in some way, or family, are immediately reserved for sleep.

Any film I see at two o'clock in afternoon with my mother seems to cast a strange spell that means we both come out sobbing.

I have watched people who have nothing to do with the film business, but who have become part of the circle for a short period of time. They can be truly devastated when the film wraps and people leave.

I could never have conceived that I would ever get to work in a Truffaut film. It was astonishing to me, and still is. I felt like an old pro, but it was still so unexpected.

This film business, perhaps more so in America than in Europe, has always been about young sexuality. It's not true of theatre, but in America, film audiences are young. It's not an intellectual cinema in America.

Sometimes you like the personal adventure implicit in the making of a film, and sometimes you like your part in a film, and sometimes you like the final result.

I could not do the film Spinal Tap because I was already at MTV and it was occupying all my time.

You can't be trying to make a film that pleases all people, you know, so it's not a concern of mine.