A Quote by Richard Linklater
I always say I'll never make a film in Austin in summer, but I always end up here.
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'Boys of Summer,' to me, is like the end of the summer, man. That heartbreaking feeling where you have to go back to school, your summer love is coming to an end, and the leaves are changing. That was always such an emotional time for me as a kid, because I loved summer so much.
Every film is a challenge. I always say that making a movie is like film school - you're always learning. But unlike most schools, you never get done with it. You never learn everything.
Eveybody likes to speculate that me and Austin Starr are somehow related. I always say that that guy never had a tattoo.
In any film business, if you're trying to get your next film made, you would never say, 'Oh, my last film was a cult film.' I'd say, 'Oh, great, well I hope this one isn't!' I always say to Johnny Knoxville, 'How do you do it? You sort of do the same thing we did, except you made millions, and I made hundreds.'
I'm not coming from film school. I learned cinema in the cinema watching films, so you always have a curiosity. I say, 'Well, what if I make a film in this genre? What if I make this film like this?'
We always spend the summer together. My wife and kids, we always go back to Massachusetts and spend the summer there near where my wife and I both grew up. I wasn't willing to sacrifice the summer to go elsewhere.
For me in a film, almost every scene you end up cutting a bit of the start of it out, and some of the end of it out because there's always...once you've rehearsed it and shot it, it feels like a couple of times and you can always get out sooner.
I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.
The business side of film has goofed up so many things, but even that's changing. It happened to the music industry and now it's happening to the film studios. It's crazy what's going on. But artists should have control of their work; especially if, as I always say, you never turn down a good idea and never take a bad idea.
Every film that you make has to have a scene that is the heart that blood flows through in every other scene. That scene doesn't always have to be in the beginning of the film. But it can also be at the end, or in the middle, and that can sometimes make the film more effective.
I did theater summer camps when I was a kid, and I enjoyed them, but they never felt quite right. But then there would always be a tiny improv workshop towards the end of camp, and I would always feel like I liked it so much better.
How shall I sum up my life? I think I've been particularly lucky. Does that have something to do with faith also? I know my mother always used to say, 'Good things aren't supposed to just fall in your lap. God is very generous, but he expects you to do your part first.' So you have to make that effort. But at the end of a bad time or a huge effort, I've always had - how shall I say it? - the prize at the end. My whole life shows that.
I always loved music, and I always wanted to make a film about it, but I could never do it because of the censorship that was around.
I always say that countries that keep women in the backseat will always end up on the wrong side of history.
I have to be honest and say that I never really feel like there's one person that I really want to cook for. I just want my food to always get better and always be evolving and for there to always be movement in what I make. I would say I strive for that more than anything else.
Yes, I'm always - I'm always surprised when you make a film and you live with it a while and you put it out, you never dream that anybody is ever going to want to really see it.
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