Top 134 Quotes & Sayings by Spike Jonze - Page 2

I think there is something about... unless you come from a really evolved family that allowed you to talk about your feelings and felt like a safe environment, then you aren't really prepared to do that when you grow up.

You can go on Nike's website and choose exactly what fabrics and colours and shapes you want your sneakers to come in.

The best videos were the ones where I became friends with the artists first.

Obviously technology has become such a big presence in our lives and, I definitely know, in my life.

I'm very nervous about taking jobs. I always make sure that, if I'm going to work with somebody, that they really understand what it is that I want to do. I'd rather not take the job than be vague about how I'm going to do something and run into trouble later on. It's a hard thing to negotiate.

I'm fortunately not, like, typecast. I don't have to just do one kind of thing; I can do all kinds of things that reflect different parts of me.

After 'Where The Wild Things Are,' which was this big, long five-year project, I spent a year making small things.

The Beastie Boys are guys I loved before I met them, and when I got to know them, we started a magazine together, and we started making videos together, and a lot of it came out of us just cracking ourselves up, like going to the fake mustache store and buying fake mustaches.

A lot of times, you have an idea, and all the things you are thinking about might fuel it. But that's not where the idea came from.

Some of the best ideas come from sheer discovery, and not by some masterminded, preconceived genius.

'Where The Wild Things Are,' I think I could have written on my own. When I brought Dave Eggers on, I already had 60 pages of notes. I technically could have, but I don't think I was ready to. I needed him to be there and help me.

I am better at math than spelling.

Our subjectivity is so completely our own.

I guess a lot of things I make are relationship movies. Maybe all movies are relationship movies, because they're all about how we relate to each other.

I don't know what life was like 1,000 years ago, but I imagine there was the same struggle: people trying to connect with each other.

After 'Where the Wild Things Are,' I guess I felt more confident as a writer.

I'm a little slow, so forgive me if I'm inarticulate.

I just want to be who I am, as I am.

I skated and rode bikes on ramps, and my mom was always super supportive. She was one of the only divorced moms in the neighborhood, so all the other parents looked down upon her for letting her kids do that kind of thing.

I'm always inspired by other filmmakers, whether it's a shot or the way they handle tone.

I've done the thing where I stop being communicative, and I've been on the other side where the other person isn't communicating, and I become frustrated.

I don't want to make a movie till I have an idea I have to make. I don't want to make a movie just to make a movie.

As a director, you never get to watch other directors work, and you also don't get to collaborate with other directors that much.

A great poem leaves so much room for everybody to have such a different reaction to it.

I've done a couple of interviews, and I realized how uncomfortable I felt as soon as I started talking.

I think there's a knee-jerk reaction to things from parents.

The strengths and failings of a relationship depend entirely on your ability to talk about your feelings.

When I was 20 years old, I had no plans to ever be a filmmaker.

Me and my friends had BMX magazines and skate magazines, and I was a photographer who made skate videos.

I met Arcade Fire on their first record, 'Funeral.' I loved that record, and it was a record I was listening to while I wrote 'Where the Wild Things Are.' Those songs - especially 'Wake Up' and 'Neighbourhood' - there's a lot of that record that's about childhood.

As creatives, it's a hard thing to push, to make something you're truly excited about, especially if you've written 100 different concepts and they keep getting shot down.

Johnny Knoxville went from struggling to pay his rent to being on the cover of 'Rolling Stone' in the course of, like, a month.

I'm not a film-snob.

On set, there's a lot of pressure. But it sort of heightens the moments.

I loved Fugazi, the D.C. hardcore band, because they always did everything themselves. They had their own label, and the CDs always cost nine dollars, the T-shirts always cost eight dollars, the shows always cost five dollars, no major label.

Whenever I start writing, I try to put together songs that feed the feeling of the movie.

Writing is hard.

I like people that define their own values. I am much more interested in somebody who has their own definition of what they value, their own definition of what success is, their own definition of what love is.

I want to make films without a single clear message, and films that are as close as possible to what it feels like to be alive. At least to me.

I love people that willfully defy what you're supposed to be and create their own definition of their selves.

Any conversation I have with anybody that's real is always revealing and inspiring.

I think the way Win Butler writes, I really identify with it. He writes very emotionally and very cinematically, and I just connect with his sensibility.

I have a home phone number, and I like it! It's like a throwback already.

Arcade Fire has such intimacy and epic-ness, at the same time, and that's really inspiring.

Pop music, I think there's a reason why kids connect to it.

The market groups and demographics said, 'Teenage guys don't read magazines.'

You get a buzz when getting texts: 'Oh, someone's thinking about me.'

I respect people that are die-hard film people, but I started on video. I started on Hi8 video and mini-DV, and I made skate videos. So, I love film, and I love the way it looks, but I also love the way crappy video looks, or VHS. I've always been a fan of whatever the look is that's appropriate for what the feeling is.

I worked at this bike shop called Rockville BMX, and I started going on this summer tour with this one company. One summer, we ended up in California, and I got to hang out with the guys who made 'Freestylin' - Andy Jenkins and Mark Lewman.

I feel like every movie, I've learned more and more about what I think of the world and what I'm trying to figure out.

I definitely liked the Muppets. I definitely liked Yoda in 'Empire Strikes Back' and Chewbacca. I don't know if I was a fan of puppets or those, like, specific characters.

I remember when MySpace came out. It did do something pretty incredible - which was unite people around the world with common interests and common tastes.

There's great food everywhere, and even McDonald's uses nice wood now.

There's a difference between stress and pressure.

I'm hesitant to make grand statements because I feel like that it's not exactly what I'm writing about.

There were times in 'Adaptation' during the editing where I really thought, 'Okay, well, this was a noble failure. I tried to do something good, but this is not going to work.'

I started directing videos at the same time that Michel Gondry was starting to direct videos, and I watched what he'd do. They all seemed to be pushing some new visual effects idea, but never just for spectacle. They all captured a feeling.

I think the thing that is meaningful is when I can tell that someone's been affected by the movie or by anything I made.

Everything in L.A. is - it's just an easy place to live in. The houses are nice, the backyards are nice, you got the ocean right there and the mountains behind you; there's an idealised easiness to the way you live and the whole environment.

We can empathize as deeply as we can empathize.