Paul Thomas Anderson Quotes

You know, I'm really not that competent at describing things musically.

We’re all children of Kubrick, aren’t we? Is there anything you can do that he hasn’t done?

I always had a dream about trying to make a movie that had no dialogue in it, that was just music and pictures. I still haven't done it yet, but I tried to get close in the beginning.

No matter how many times you do it, you don't get used to the sadness - for me at least - of coming to the end of a film.

I don't want to be the angry guy.

Crazy is so hard to play, there's nothing you can really tell an actor.

I've never been a fan of whimsical or confusing storytelling.

I have a feeling, one of those gut feelings, that I'll make pretty good movies the rest of my life.

It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds.

The films that I love are very straightforward stories, like really old-fashioned stuff.

Screenwriting is like ironing. You move forward a little bit and go back and smooth things out.

I didn't have any desire I might have had 10 years ago to shoot every single word that I wrote.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

My writing has a lot to do with who I am, and what my life is like, and my relationships to people.

It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.

Acting is the hardest job in the entire world. By far. Harder than ditch digging.

I am always looking for that nuance, that moment of truth, and you can't really do that fast.

I had the standard movie geek childhood, because for as long as I can remember, all I wanted to do was make movies.

If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world.

But I'd be lying if I didn't say that every time you go to make a film, you're desperate to either do it better than you did it last time or to not repeat yourself.

Clinton used to like to get out of the White House a lot. He would take night trips to McDonald's, and stuff like that. I think he wanted to get out of the house.

Well I'd really love to work with Robert De Niro, because he's still the most talented actor out there.

As I have got older and become a father, there's less and less time for films.

How do I respond to criticism? Critically. I listen to all criticism critically.

You write who you are. But you also cheat, and youwrite what you want to be. It's embarrasing to be the guy who madethe movie, knowing you're not exactly who you want to be.

So with 'There Will Be Blood,' I didn't even really feel like I was adapting a book. I was just desperate to find stuff to write.

You have to be a brat in order to carve out your parameters, and you have to be a monster to anyone who gets in your way. But sometimes it's difficult to know when that's necessary and when you're just being a baby, throwing your rattle from the cage.

I don't think it's a director's job to peek behind the curtain too much.

I'm completely aware of the fact that I'm a control freak.

I don't think the competition's so rough, within the majority of movies made in Hollywood.

My older sister was at the cusp of new wave, and I had older brothers from my father's first marriage who were rock 'n' roll guys, so I was exposed to a lot of popular culture.

It felt like the first thing, but when I first started out, I got a job adapting a book by Russell Banks called 'Rule Of The Bone.' I didn't do a very good job. I didn't really know what I was doing in general, let alone how to adapt a book.

I guess what I like in my movies is where you see a character change by maybe two degrees as opposed to the traditional movie change of ninety degrees. I guess that always feels false to me in movies because that doesn't truly happen. Around me, at least in the life I live, I guess I don't see people change ninety or a hundred degrees. I see them change in very small increments. I think it's just a monitor I might have on myself as a writer to not make any false scenes.

Of course, I'm no dummy.

I'll rebel against powers and principalities, all the time. Always, I will.

I write from my stomach.

My dad was this sort of avant-garde guy who did all kinds of weird things. He was a true original and anybody who met him never forgot him.

I don't get a sense of American pride. I just get a sense that everyone is here, battling the same thing - that around the world everybody's after the same thing, just some minor piece of happiness each day.

Film school is a complete con, because the information is there if you want it.

I'm not really a Sundance baby, but they helped me so much I feel I have to acknowledge it.

There’s a lot for screenwriters to steal from songwriters, in terms of getting to the point.

To make a film, the final big collaborator that you have is the composer.

I remember being taught in school that you would underline things that you liked. I remember just underlining everything as a kid, thinking, 'This has all gotta be important!' I would just underline the whole thing!

My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.

I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.