Top 45 Quotes & Sayings by Gore Verbinski

Reading in a sound booth seems very strange. Everyone has a process they are comfortable with; this was uncomfortable for me.

I always wanted to do an animated movie. I find it to be incredibly liberating as a way of telling a story.

Animation is a technique, not a genre.

I just don't know when we all decided that if it doesn't fit in a Happy Meal box, it's not for kids. I remember flying monkeys in the Wizard of Oz, and I grew up watching Monty Python. I think that kids can handle a lot more than we give them credit for, especially when it comes to the absurd.

My respect for Westerns have gone way, way up. It's hard and treacherous work. It's hard to find people these days who can ride horses like that and jump onto trains.

I think when you get people who are really talented and you take them out of their comfort zone, you get a lot more out of them.

Today we're just growing and consuming, and I think maybe there's a sadness in that. People are longing for a time when there was a black and white and good and bad.

I like horror movies, and in fact I like them even more now after making one. I just think they're much more liberating because you don't really have to apply a very strict logic.

I think you can never ever lie, ever. If you don't know, say, 'I don't know'.

I think audiences ultimately want something new. I think the business model for a franchise is such that it's very low risk because you have data and studios love data.

My respect for animation has gone way up. It's a truckload of work. I have to sit with my animators the same way I'd sit with my actors and cast them.

My respect for animators and animation directors has gone way, way up and it is just not something you can phone in.

When I speak of drama, I'm really referring to just 'desperately trying not to be ordinary'. Trying to get something that has a little bit of friction, conflict, absurdity.

Raising kids these days is hard. I'm the second to last child in my family. I think it's tough; I have two kids, I see them and I feel like I see things in them; they awaken the inner child in you.

This is the story, this is your character, I have the sense of the landscape, I have the sense of the scene, I have all that stuff. But I'm also looking for something else to happen, an accident or something. You're focused on the story you intend to tell and then you have to have a peripheral net out to catch these accidents.

Animated films are so precisely engineered - right down to forming lines of dialogue with words pulled from several different takes - how do you translate that spontaneity from the live-action to the digital realm?

There is a sense that animated movies are suddenly a genre. I just don't believe they are; it's a technique to tell a story.

I think comedy is drama, often. It's hard to have comedy over a period of time - commercials are one thing, but over a period of time - comedy and tragedy go hand in hand.

On a live-action movie, things happen that are unexpected. In animation, you have to fabricate the feeling. That takes a tremendous amount of nuance until the film becomes sentient and gives back.

Honestly, every person, every individual has a process, and my philosophy, whether it's an actor or an animator, is you try to understand the process that person has so you can get the most out of them, but I think you have to sort of manipulate that process with honesty.

I just think it's growth when you pursue something you're not sure you can do.

I just watched so many Westerns as a kid that you end up using archetypes and sort of tropes of that genre, because there's a language there and you can twist it and turn it on its head or play to it or go sideways at any time.

I'd love to do a PG-13 animated adventure. It would be great.

All the traditional westerns are about choice and the individual. When progress comes it's much more difficult to define the individual in that world.

I'm a fan of the western genre. When I see a character actor, I see a whole movie behind a scene before and after. There's a whole other movie behind it.

Drama is drama, and it's really... if it's something small, you put a magnifying glass up to it; if it's something big, you use a wide lens.

My respect for artists is very high. I think to get the most out of them, you have to liberate them. I think part of liberating them is saying, 'Come up with something brilliant, new, and fresh. Stop thinking based on what has been beat into you by executives or publishers in terms of what's going to work and what's not. Don't react, just act.'

I think people imagine going back to a time when they knew who they were and they knew what the circumstances were - if you screwed up it was your fault.

For me, some of the happiest moments on a live-action film are the awkward moments. One actor says something to another actor. They didn't expect that performance from that actor; that affects their return performance.

Nothing's occurring in animation - you manufacture everything.

I think my parents gave me a love of learning; from there you set out on your own path.

If you imagine yourself as a craftsman at ILM, you spend your days tumbling buses and animating shards of glass. You're doing a lot of visual effects work.

I try to push and find something awkward. The gems to me are truly awkward situations, and you have to have somebody who's willing to fail because those can't be conceived. They never play if they're thought about and discussed too much. You have to create them right at the moment and look for something honest.

Everyone always wants to find the answer, to feel that things are resolved. But in dreams, maybe there isn't an answer so much.

It's a mistake for Hollywood to impose themselves on the gaming space. Not only is it arrogant, but it hasn't really worked.

My agent called and said, 'How do you feel about a pirate movie? I mean, how often are you going to get that call? It's sort of the singularly most failed genre of our time, but I thought it had to be attempted one more time. I think there's something rebellious about pirates, something revolutionary about them. They came out of a time when things were oppressive; you could get hung for stealing a loaf of bread. For me, the Pirates films are about when it's right to break the rules to achieve what you want.

I'd like to think that if you find your audience there are still opportunities there to go and tell an original story.

I want to diagnose the audience a bit and then offer a cure.

The curse is an incredible set of blue balls.

What makes me smile is a movie where I feel like it is dangerous, or there's that fresh idea there. It's about learning and growing and trying new things and tinkering, all of those things that keep you excited. But if you're not nervous, if you're not on that boundary of the unknown, I don't think you're getting better. I think you're kind of sitting back, and I don't think you're advancing the form.

I think that's really the kind of exponential factor in being in a punk-rock band or making music videos and movies -pirates and rock 'n' roll go hand in hand. There is a `question authority,' `don't be afraid to break the rules' quality that whether you're a 4-year-old bouncing on your bed as your parents are trying to stop it or an adult longing for that feeling, there's something inside all of us that piracy speaks to. I'm going to do what I want to do and I don't care what you think.

It's always good to keep people guessing.

I find it ironic that fear is eliminating the possibility to tell stories that depict our ability to overcome fear

Life is cruel. Why should the afterlife be any different!

There's so much work in making movies, it's so easy to tear one down. When I watch a movie, even one that I don't particularly enjoy, I'm constantly impressed at the work that's in it. I respect the craftsmen and women. I tolerate a lot of movies that maybe other people don't, just because I know what goes into them.