I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
From Paul Haggis
I don't know how much credit I can take for 'Walker, Texas Ranger,' because I only worked on it for three weeks. I re-wrote the pilot, and then my name was on it forever.
When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?
I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
I made a very good living as a bad writer. I wrote a lot of comedies, 'Diff'rent Strokes,' 'Facts of Life,' while all my friends were doing the good shows, like 'Cheers,' but I loved it because I got to be a working writer in Hollywood.
Even in a comedy, you have to make people feel. You have to put your hand inside their soul and twist out their heart.
I don't pay much attention to the press. My films always get good reviews and bad reviews. I just try to make the best film I can.
There's nothing more painful than writing.
The great majority of Scientologists I know are good people who are genuinely interested in improving conditions on this planet and helping others.
I like taking genres and subverting them. I did that with 'In the Valley of Elah.' I said, 'Okay, this is just a murder mystery. Relax.' And then, two thirds of the way through, I broke every convention of a murder mystery.
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