American - Director | July 30, 1960 -
I remember playing for coaches who seemed like military-type guys. It always rubbed me the wrong way.
Richard Linklater
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The theatrical marketplace is a challenge. What do you have to do to get someone to purchase a movie ticket to your movie? You have to do something that they've never seen before; you've got to enthrall them in a new way.
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A certain kind of film is a big theatrical film and a certain kind of film isn't. It doesn't bother me so much that you can pick your format.
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I remember when I made 'A Scanner Darkly,' going, 'I hope people see it in theater - but I think it's going to be seen in someone's room at two in the morning.' It's that kind of movie. And I would have loved if it had been available on multiple formats at the moment it opened.
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I wrote a script - a script about a guy working on the automobile assembly line; I never could get money for that. I did a pilot about minimum wage workers for HBO that didn't get picked up; they thought it was depressing, even though it was a comedy.
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I grew up in a little town in east Texas where it was really not on the table to question certain things like whether you should eat meat or not.
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When I saw 'subUrbia' on stage, I started having those feelings inside me. I saw it as a film, and I felt I knew the characters, or I was the characters. It really dredged up all this stuff in me that never went away.
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There are really a lot of dark shadings to a lot of my stuff.
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I always say I'll never make a film in Austin in summer, but I always end up here.
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If you make a film about childhood, you've got to pick a moment - you know, 'The 400 Blows.'
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I was dating girls who were actresses, and that was fun, so I took a playwriting class. But that was short-lived. That was one year. Around that time, I was seeing movies that were making me think in terms of images.
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I remember daydreaming out in the outfield: I wish I had more time. I want to read 'The Brothers Karamazov.'
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