A Quote by Bill Hader

I moved out to L.A. to be a filmmaker or director. I didn't even think about doing comedy or even acting. I wanted to be like Paul Thomas Anderson or Wes Anderson, but I wasn't going to a lot of comedy.
When I started working as a writer-director, that's when he became Paul Thomas Anderson and I became Paul W.S. Anderson. Neither of us can write and direct an American movie under the name Paul Anderson.
There are a few directors as a young person where I was kind of like, 'Well, these are a sure bet.' The Coens, Paul Thomas Anderson, Wes Anderson.
I want to work with Wes Anderson, Paul Thomas Anderson, the Coen Brothers, or Spike Jonze.
I've noticed, as a comedy fan, that I really like Paul Thomas Anderson or Quentin Tarantino because when they're funny, they're actually funny. It's not like when other dramatic writers have comedy, and I'm just like, 'Well, that's not funny. Why are you even trying to make a joke here?'
The idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
I would love to do a small indie comedy, like a Wes Anderson movie or, like, an ensemble comedy like 'The Royal Tenenbaums' or 'Little Miss Sunshine.' I like comedies like that, that have a lot of heart and are about family dynamics.
There really isn't a dream role, but there's a dream situation where I could work with a director that I idolize. So, the idea of working with David Fincher or Paul Thomas Anderson or Wes Anderson or Scorsese or Spielberg or any of the guys I really idolize is a dream for me.
Being on a Paul Thomas Anderson film, the best decision an actor can make is to listen to Paul Thomas Anderson. Because he's probably not going to steer anyone in the wrong direction. I would always say go with your gut on any other movie set, but with Paul, I would say go with Paul's gut.
I really like dramas that have a tone of comedy in them or the opposite, and those are done by people like Alexander Payne and Jason Reitman but also Spike Jonze and David O. Russell and Paul Thomas Anderson, the Coen Brothers.
I even think the commercial element of new American directors is really fertile right now. There are a lot of filmmakers with very particular visions, like Sofia Coppola and Wes Anderson and P.T. Anderson and Alexander Payne and Peter Sollett and Harmony Korine and Vincent Gallo. At least they're making films that they choose to make, and they're on their own. That's positive to me. This is not a dead period for American cinema at all.
I think Woody Allen calls it 'anxiety of influence.' When you're in your formative years and you watch a movie that makes you want to make movies... For Wes Anderson, it's Truffaut. I'm sure for P.T. Anderson it was Scorsese and Jonathan Demme.
I don't think Paul Thomas Anderson has a standard approach to anything.
I dont think Paul Thomas Anderson has a standard approach to anything.
My roommate in college in Austin, Texas, was Wes Anderson. Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.
I'm very fortunate to have the privilege of working with directors like Bill Condon and Paul Thomas Anderson, who I think is one of the greatest filmmakers of our time.
I'm a huge Paul Thomas Anderson fan.
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