You've got to trust your instincts, your judgment and trust the storytelling that came before and the quality of the acting with the emotion.

I respect the British a lot - their history, their past, their culture. I think it's beautiful, what they have with the monarchy.

I'm always aiming for some magic in films if I can find a mystical quality either in a song or in a moment or a character's intention.

There's a way of filming where you can get rid of the vanity and of trying to make something beautiful.

When I do a mix tape for my kids, for my friends, for my lover, I meticulously choose the tracks, and it's beautiful. And when they are alone they think of me - and when I am alone I think of them.

As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.

Just film what's there, trust what came before, one hour before, and make it easy.

I look back, and I've got a couple of films, and I'm happy.

I love those films where I feel the director's confidence - where he doesn't need to overdo it with the shots and the cuts.

I'm from the 'less is more' school. I had to be in the 'more is more' zone with 'Dallas Buyers Club', so I was out of my comfort zone, but I had to trust that.

In a career, when you hit 40 and you've done a lot of this and that, you want to try some new things. I feel like that as a director, too, from one film to the other.

Although the testimony of my mother’s life helped mold me and taught me how to live, the testimony of her last years and her death gave me insight into how to die.

The experience taught him [Salvador Allende] too late that a system cannot be changed from the government but from the power.

Every voice raised against racism chips away at its power. We can't afford to stay silent.

Looking away is submissive. Looking [..] in the eye is a challenge.

I believe so much in the power of performance I don't want to convince people. I want them to experience it and come away convinced on their own.

Nothing matters except life and the love you make.

YOU YOU YOU your eyes, thick as a high school scrapbook crackling and yellow, curling at the edges a book of myths in which i do not appear.

But music is reflection of self, we just explain it, and then we get our checks in the mail.

When I started my goal was to make a successful underground movie. I started making movies in the mid-60s. Underground cinema then only lasted about two or three years.

I don't turn my nose up at anything. If it's a great part, it's a great part. I'd love to do a box-office hit.