Top 81 Quotes & Sayings by David O. Russell
Explore popular quotes and sayings by an American director David O. Russell.
Last updated on December 21, 2024.
I think I land somewhere between Scorsese and Capra in what I'm drawn to emotionally; I'm drawn to very intense emotion. Capra freaked people out when they saw Jimmy Stewart lose it in 'It's a Wonderful Life.'
When I write an email where I outlined a whole scene, it just came out of my unconscious, it comes from a deeper place. The same thing happens when the actors go, take after take, and just get lost in it. When you're in a house, you don't think about being in the house; you're just there.
I got put on jury duty, which is where I learned how to write.
'The Fighter' was about a family struggling to overcome and fighting each other sometimes, and I went back and rewrote this script which I had written for my son initially because my son has mood disorder.
There's nothing better than an actor who is really, really hungry to show everything they've got.
I did a dance sequence in my second short film, which was my best short film, called 'Hairway to the Stars,' and I think Chris Wink, the founder of Blue Man Group, was in that. It's a black-and-white dance sequence. We were Glorious Food waiters together.
I just love real characters; they're not pretentious, and every emotion is on the surface, they're regular working people. Their likes, their dislikes, their loves, their hates, their passions; they're all right there on the surface.
You know, veterans come home and they may not be bipolar, but after they've been through a war with PTSD or a head injury, their families have a handful when they come home.
That's the most beautiful thing that I like about boxing: you can take a punch. The biggest thing about taking a punch is your ego reacts and there's no better spiritual lesson than trying to not pay attention to your ego's reaction. That's what takes people out of the fight half the time.
The closer you stay to emotional authenticity and people, character authenticity, the less you can go wrong. That's how I feel now, no matter what you're doing.
I would say that when I came into this chapter of my filmmaking career, starting with 'The Fighter,' there was this sense that you have to go from your instincts and you have to go from your gut, and you have to not hesitate and you have to not hedge.
One of the things I've discovered at my age is I must have enchantment. And that was not clear to me in my earlier years. When I look at my favorite films, the Frank Capra - even Scorsese, even 'Goodfellas,' what makes that movie so remarkable is there's enchantment in their world.
Some of Jimmy Stewart's performance in 'It's A Wonderful Life' is some of the most disturbing performance he ever did, when he falls apart and when he breaks down.
The whole trick is to make it feel like you're spying on real people's lives as they get through the day. When I'm writing, I have to trick myself as a writer. If I consciously say, 'I'm writing,' I feel all this pressure and somehow it doesn't feel as real as when it doesn't seem to count as much.
I've done my best to work from a place of humility - always looking over your shoulder saying, 'Does this suck?' and I think that's a good way to work. The other way to work is where you start to think, 'I'm on fire, I'm amazing!' and I don't think that's the way to work.
I'm always looking for a way to surprise audiences. That's, I feel, my job as a director. I felt that Amy Adams playing a tough woman in 'The Fighter' was a surprise. People saw her as a princess.
I feel profoundly blessed. I feel it's a great privilege to make any motion picture.
What do we have in life, really? If we're lucky we get to a certain age, and we have each other. We have the food we like. We have our crazy little rituals. And we have each other.
I think any spiritual experience that's worthwhile is not about ego and it will humble you in some way. And also, a Zen monk once said to me, 'If you're not laughing, then you're not getting it.'
I got a nomination for director, which means the world to me; it's just the most exciting thing for me and my family. You do the good hard work, and the rest of it is something you shouldn't get too caught up in, but when it happens - boy! I respect it.
I was frustrated because I couldn't get going, as I was trying to figure out how to make films. I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films.
That's what takes people out of the fight half the time. They get hit and half the reaction is your ego is saying, 'I cannot believe that person just lit me up - how humiliating.'
I think what makes compelling fiction or cinema is when you're basically taking the most intense moments of experience and you're creating a song or a narrative out of it.
It's absurd that we're so quick to criticize Muslims for being fundamentalist when Christians can be just as extreme and fanatical and frightening.
It's my experience that endings are never easy, and I think I'm not alone among filmmakers or writers in this.
In order to reinvent yourself, you have to dig deep and look at yourself. I'd lost my way creatively, and I was humbled, and so I think I got really basic about wanting to depict people in the ways that I find them amazing and funny and emotional and that I can relate to and do from an instinctive, gut place. People trying to survive ... That's what all my movies are about.
The great lesson about filmmaking is never take "no" for an answer, especially if you have a lot of passion and inspiration to do something.
The investigation of consciousness has come to be regarded suspiciously by most smart people and by most scientists. That's a legacy that began with the Inquisition, which considered non-Christian spiritual inquiry as blasphemous.
Quite frankly, the bible is filled with advice that you'd never, want to follow. "Don't cut your hair on a rainy Thursday because locusts will eat your farm" kind of thing.
I make every movie and every scene like it could be my last. That's the only way I know how to make cinema that stands on its feet. I have to treat it like that. It has to be life and death stakes.
It's a closing of the mind that happens when you want to be lazy and go with the easiest answers, like the media do all the time in their sound bytes.
Christianity has been responsible for plenty of horror and death in the world, all supposedly in God's name.
The Fighter was about a family struggling to overcome and fighting each other sometimes, and I went back and rewrote this script which I had written for my son initially because my son has mood disorder.
I think sometimes you have to handle things delicately at work or at home. You know, you can find yourself in situations that are like opening a closet filled with bowling balls that are going to fall out of it, but if you handle things graciously, then that's not going to happen.
I think if religion closes discussion or exchange of ideas or curiosity about other views, it's not true to its core.
I think that everybody does hustle in order to survive. That doesn't mean lying - it's more about how you handle situations.
The holy trifecta of directing and filmmaking is character emotion, camera movement and music. When you hit those three, that's magical. That's what I'm trying to do.
That's just how I see things. I think things that are the most dramatic or tragic can also look the most ridiculous and funny. That's part of being human.
I suppose what I like about Zen is that the teachers are constantly questioning your insight and challenging it, looking for sloppiness or laziness in it, and ways you can go past that.
The idea that anyone would think their religious ideas make them morally superior is just preposterous.
Gay marriage is a complete red herring to distract everyone from the economy and the war and health care and education.
When most people turn on their TVs, they don't expect a frank discussion of philosophical ideas in their practical context. Or any context.
There's always hope. Never give up. Walk slowly and drink lots of water. It ain't a sprint.
The religion itself may have some great ideas, but I can't take it seriously if it's blatantly exclusionary.
Anything you could ever want or be you already have and are.
It's easier to control people when they're afraid.
The gift of life is the gift to suffer sometimes and to embrace it, heartbreak and all.
Every day, when my feet hit the ground, I have a story that I'm telling myself that I choose to make a positive story. I know people who don't do that, and there's a heavy energy around them. So I guess there's that kind of hustling.
You're not supposed to become something else so you can get more. You're supposed to stay you and get through as yourself, because at least then you can count on that, and you don't have to ask yourself who you are half the time.
That's the most beautiful thing that I like about boxing: you can take a punch. The biggest thing about taking a punch is your ego reacts and there's no better spiritual lesson than trying to not pay attention to your ego's reaction.
It's not easy to follow Jesus' example, and if you go to church it doesn't mean you're automatically doing it.
I think I land somewhere between Scorsese and Capra in what I'm drawn to emotionally; I'm drawn to very intense emotion. Capra freaked people out when they saw Jimmy Stewart lose it in 'It's a Wonderful Life.
That's what takes people out of the fight half the time. They get hit and half the reaction is your ego is saying, 'I cannot believe that person just lit me up - how humiliating.
The cinema that I make is a cinema about people, emotion, humanity and passion. It's not just about what they struggle through, but what they live for. That's what I love. The music they love, the people they love, the clothing, the hair and the life that they love
David O. Russell's best films are thrilling high wire acts that run the moment to moment risk of tumbling to the ground. In his latest, "Joy," Russell has more trouble than usual keeping his balance on the wire.
A thousand years ago, scientists who wondered about consciousness and the nature of reality were burned at the stake. We still haven't recovered from that and it's left us with a culture that no longer investigates consciousness, except on the fringes.
I had various jobs, I taught a SAT class, I was a bartender, I had a day job at an office and was making short films. I got grants from NYSCA and NEA for an idea, which later became 'Huckabees,' about a guy in a Chinese restaurant who had microphones on every table and heard every personal conversation and would write perversely personal fortunes.
The endings for all my characters seem sufficiently human and messy for me to feel comfortable with them. In some ways they have only moved an inch, but sometimes an inch is a great distance.
Sadly, this picture [ Joy] does not go from strength to strength. It sinks into a morass of tedious obstacles to this woman's success. Joy the person may be able to surmount all barriers, but the film with her name on it is not so fortunate.
Unhappy endings can be as cheap as happy endings.
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