Don't get obsessed with not liking a movie.

Know what it is the emotional statement to convey, and use taste and judgement to help the actors give their best possible performance.

The hardest thing in making a movie is to keep in the front of your consciousness your original response to the material. Because that's going to be the thing that will make the movie. And the loss of that will break the movie.

The reality of the final moment, just before shooting [the scene], is so powerful that all previous analysis must yield before the impressions you receive under these circumstances, and unless you use this feedback to your positive advantage, unless you adjust to it, adapt to it and accept the sometimes terrifying weaknesses it can expose, you can never realize the most out of your film.

You're free to speculate as you wish about the philosophical and allegorical meaning of the film—and such speculation is one indication that it has succeeded in gripping the audience at a deep level—but I don't want to spell out a verbal road map for 2001 that every viewer will feel obligated to pursue or else fear he's missed the point.

I'm not afraid of dying tomorrow, only of being killed.

I used and abused drugs and alcohol. When I stopped doing that it became a lot clearer that life goes from inside to giving as opposed to taking and destroying.