Top 173 Quotes & Sayings by Richard Linklater
Explore popular quotes and sayings by an American director Richard Linklater.
Last updated on December 21, 2024.
Filmmakers are going to make films, just like painters are going to paint.
I've always liked the minds of criminals, they seem similar to artists.
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.
I did The Newton Boys and during the whole process of making the film, I may have spent a week in Los Angeles.
I worked offshore as an oil worker for a couple of years.
Everyone is encouraged to see their lives, the world through the eyes of the rich.
I want to make a film about a factory worker.
It's luck that one thing works out and one doesn't, it's sort of happenstance.
Ulrik Ottinger was the most real and experimental of all the German New Wave directors. She was probably the most out-there, too. She's a fascinating artist in that world.
A lot of Luis Bunuel's later, European films are all great.
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.
Every day's a hustle.
The truth will only be told over a career.
'Slacker' is so not about navel-gazing.
Trump has a lot less than he says he does.
Here in Central Texas, you drive west, you get the desert; you drive east, you get the woods; you've got water, you've got urban environments, you've got country. So you can hit a lot of notes.
We emphasize negativity and violence in the media because that's what grabs everybody's attention, but in the real world, it's mostly people being very cooperative and caring and connected and kind. That's the norm of human experience. And yet, what gets our attention is the very opposite.
I loved 'Goodbye to Language.'
I remember playing for coaches who seemed like military-type guys. It always rubbed me the wrong way.
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.
Hollywood has a way of sucking the world's talent to it.
The theatrical marketplace is a challenge. What do you have to do to get someone to purchase a movie ticket to your movie? You have to do something that they've never seen before; you've got to enthrall them in a new way.
We filmmakers are control freaks. For us, it's about bending the elements of a story into existence.
I'm a huge Nagisa Oshima fan. He was one of the most radical Japanese directors to come up in the '60s.
I don't see the arts as competitive at all. It was a better angel of my nature. Sports is zero-sum: winner, loser, demonstrable.
'The Newton Boys' was the one time I've made a film with really active characters who weren't at all self-reflexive and just plowed through their lives. There's a part of everyone that's like that. We have a biological imperative to keep living, keep moving forward... We have no choice.
The worst thing is that you used to be able to show interesting films on campuses. Those places are all gone.
Whatever story you want to tell, tell it at the right size.
Storytelling is powerful; film particularly. We can know a lot of things intellectually, but humans really live on storytelling. Primarily with ourselves; we're all stories of our own narrative.
If you want to just make a good movie, if you don't enjoy every step and become a master of each little moment, then you shouldn't be doing it.
You learn from everybody.
I always sensed instinctively from the earliest age that I was being lied to.
I guess I was just always one of those guys who asked those fundamental questions: 'Who am I? What's this for? Why? What does this mean? Is this real?' All these pretty basic questions. I like making movies about people who are self-conscious in that way, and are trying to feel their way through the world.
I think I got really lucky with Slacker. That was a film that probably shouldn't have been seen.
Yes, but Hollywood is the strangest place in that they'll torpedo their own film to prove an emotional point.
There's a long history of people who spent that $300,000 on their first film and weren't quite ready, and then they never did it again 'cause they were out of synch with where they were, and they would never raise that money again.
I do find myself at the moment, due to the success of School of Rock, to be on people's radar a little.
I think there are more films being made, but there are probably less outlets for them and distributors.
I think they should make it a felony to criticise a film product. Particularly my film product. It's anti-American.
I think you get in trouble if you make experimental big studio films.
In interviews, I never wanted to play into the myth of, 'Yeah, I was sitting there doing nothing, and then made 'Slacker.'' No. I'd been making shorts, a Super-8 feature, and running a film society. I always try to stress to people that there's a lot of work involved and years of preparation. But no one wants to hear that part.
The best thing for your psyche as you try to accomplish anything, really, is to just concentrate on all the little things. And not just as a means to an end, but truly enjoy them.
I don't want to be nostalgic for some kind of laid-back Austin where nothing was happening.
I always had that long-term vision. Even getting going with cinema, knowing it was such a long road to be able to make films, but I always had a long term. Whenever I was starting out, I had that patience.
It's disappointing to see films become pure entertainment, so that it's not an art form.
You're always just trying to make your film, tell the story you're trying to tell - best you can, you know.
Something about Texas I'm not proud of is that our state murdered 37 people last year alone.
I admire people who can just brazenly go through the world.
I'd like to see people get sued if they wrote a bad review of my movie. If you can't say something nice, you shouldn't say anything at all.
The human psyche creates structure. We all go through our lives like, 'Oh! And then I moved here.' We're pattern-seeking, structure-producing machines.
My plan B has always been to make a film about people who talk a lot.
I lost a year or two in there, trying to get films financed that I didn't know would never get financing.
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.
Before Sunrise did very well internationally. It made as much in Italy and Korea as it did here.
The film culture has no room for ideas. The literary culture has some room, but not less than they should, and the academic culture has a lot, but there's no way to communicate it in a wide way.
As you get older, you want less from the world; you just want to experience it. Any barriers to feeling emotions get dismantled. And ordinary things become beautifully poetic.
The people you live with at college, those first roommates often are people you're still friends with the rest of your life.
The pop culture tends to go to the lowest denominator, so cinema is in a weird place, due to its mass nature. It's diluted down to very little: simple stories and simple politics.
A college athlete is going to be competitive. You don't get to that level if you're not.
It's just too late to ban all guns. There are 300 million. We should've done that after the Civil War - that's when we should've taken away guns and defined what militias were. But we didn't do it then, and we can't now.
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