It's the same thing in a way, although writing a book is a very solitary thing.

I hoped that grief was similar to the other emotions. That it would end, the way happiness did. Or laughter.

Is it fair to have given us the memory of what was and the desire of what could be when we must suffer what is?

For me, the filmmaking has to be about the dramaturgy.

Films have gotten leaner and leaner, cutting out all variations from the story line.

Never make a promise - you may have to keep it.

Initially with The Butcher Boy, there was this kid growing up in this strange, weird environment that I remember from when I was a kid. And Patrick's vision was so complete there.

Well, Company of Wolves was about that literally, about fairy tales.

My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.

If movies have to satisfy every possible quadrant before they're even made, they're dull. You only get great things when people overreach themselves.

There's no point in making a film out of a great book. The book's already great. What's the point?

Always count the costs before starting any journey, and never take a step without finding its costs.

Well, I was living it, but a shared dream half-lived is a hollow thing

It was a practical trip, straight across the country. No pit stops at canned meat museums, no national parks. Just a whole lot of Wynebraskowa.

I always knew this story would break my heart

Money can't buy happiness but it will certainly get you a better class of memories.

Stability means respecting precedents.

It is awesome to feel you are carrying on the family name.

If singing were a feeling it would be this, this light, this lifting, like laughing.

Without dreams, there could be no despair.

Repose is as necessary in conversation as in a picture.