I started making my own short films as a way of being able to give myself something to do and to study my craft.
Because I am of a generation and slightly old-fashioned, my bottom line belief is what you do is you rehearse and you work and you own it. Of course, you hone it during the first few performances but once you have it honed, not that you must ever assume it is perfect, part of the craft is being able to repeat that.
If you love your craft there will be passion. Most of my films are with people who are really passionate about what they are doing and know how to do something well.
Serious films for grown-ups - 'Michael Clayton,' 'In the Valley of Elah,' 'A Mighty Heart' - these are big Hollywood films, but they have substance and craft and really beautiful performances.
Every day is a good day above ground, and especially being able to play metal and being able to your craft and everything. You've gotta respect that, because it's something that can be taken away from you really quick.
I have two different categories of favorite films. One is the emotional favorites, which means these are generally films that I saw when I was a kid; anything you see in your formative years is more powerful, because it really stays with you forever. The second category is films that I saw while I was learning the craft of motion pictures.
The craft of questions, the craft of stories, the craft of the hands - all these are the making of something, and that something is soul. Anytime we feed soul, it guarantees increase.
Well, the odds must be against anybody being able to fly around the world in a balloon on the first attempt. All of us who are attempting to go around the world in balloons are effectively flying in experimental craft because these craft cannot be tested.
Photography is a craft. Anyone can learn a craft with normal intelligence and application. To take it beyond the craft is something else. That's when magic comes in. And I don't know that there's any explanation for that.
... keep practicing. After a great deal of practice, we no longer think about all the necessary movements we must make; they become part of our existence. Before reaching that stage, however, you must practice and repeat. And if that's not enough, you must practice and repeat some more.
It's really a great luxury to have, to be able to go from big films to indie films, too. Because I'm on the job learning as an actor, and independent films is where I'm learning to act.
To be able to write a play a man must be sensitive, imaginative, naive, gullible, passionate; he must be something of an imbecile, something of a poet, something of a liar, something of a damn fool.
If you want to be considered a poet, you will have to show mastery of the petrarchan sonnet form or the sestina. Your musical efforts must begin with well-formed fugues. There is no substitute for craft... Art begins with craft, and there is no art until craft has been mastered.
If you repeat it, it's true. If you repeat it, it's true. And through repetition, something becomes true. If you repeat it enough. Until it becomes true. Or do I need to repeat that for you?
I would be really happy to be working and be able to do my craft.
I feel really privileged that I've been able to be an activist and a musician for over 20 years now, and I've always been able to say whatever I want. I think that's something we Americans really take for granted, but it's a big deal, and it's not something most people in the world are able to do.