Canadian - Director | March 10, 1953 -
I like to write about things about which I have no answers, questions that trouble me. These things trouble me.
Paul Haggis
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Unless I'm really uneasy with what I'm writing, I lose interest very quickly.
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I miss my mother very, very much.
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As a general rule, I don't plan to travel with my Oscars, but we may have to make an exception.
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We give you characters we'd feel very comfortable judging, and then go: 'Oh yeah? Watch this'.
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We're trying to reinvent Bond. He's 28 - no Q, no gadgets.
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I loved American filmmakers when I was growing up. I didn't get to film school or anything. I was a very bad student. I just devoured film, but there was a point in my teens when I started to run a little film society.
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I don't know how much credit I can take for 'Walker, Texas Ranger,' because I only worked on it for three weeks. I re-wrote the pilot, and then my name was on it forever.
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When I discovered European filmmakers, it affected me so deeply. It redefined what cinema could be. I mean, 'Blow-Up' ends with a dead body and mimes playing tennis. What?
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I just figure if you have a modicum of celebrity, you need to use it, and you need to use it for more things than just promoting yourself or your film or your image or your product.
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I wrote an episode for 'thirtysomething,' and a producer said, 'That's really good, but what is it about? What does it say about you? What questions are you asking yourself?' I had never thought about that. This comment changed who I was, because it made me look at my own soul, the dark corners in my soul, and accept that dark side.
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'Crash' came from personal experience. I saw things inside me from living in L.A. that made me uncomfortable. I saw horrible things in people and saw terrible things in myself. I saw a black director completely humiliated, but the three people around me just thought it was funny. 'No,' I said, 'that is selling your soul.'
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