When I left college, I though that I would be immediately embraced by the film world and instead found myself sitting in a squat for three years not knowing what to do with my life.
I've always considered myself a filmmaker who writes stuff for himself to do.
I don't really consider myself an American filmmaker like, say, Ron Howard might be considered an American filmmaker. If I'm doing something and it seems to me to be reminiscent of an Italian giallo, I'm gonna to do it like an Italian giallo.
My father never kissed me, hugged me or told me that he loved me. As my only living parent, he became the filter through which I saw myself, the possibilities for my life, the world and all men. He was a conflicted and dark filter.
I get mad at myself when I get news from Twitter before I get it from a regular news source. Then I'm off to a bad start: getting the second-hand, filtered experience all day long.
You know, I'm speaking for myself. I didn't like to have to speak filtering for what I thought somebody else would or wouldn't want me to say.
I can't drag myself away from 'Final Cut Pro.' It is a digital video editing system. I am obsessed with it, but I am always away from home, and I can't use it.
Not until the final draft do I force myself to remember that I'm going to have to think about how it will affect other people.
Speaking only for myself, the ideal finale to me is 'Friday Night Lights,' where you have loved and worshipped a show for all these years, you get to come back, celebrate the characters, finish up their journeys, and send everyone out with a feeling of, 'My God, I'm so grateful that I got to know these people.'
Impossible to spend sleepless nights and accomplish anything: if, in my youth, my parents had not financed my insomnias, I should surely have killed myself.
I've been blessed with enough wealth that I can make a film myself up to a certain budget. So one way I thought I would reinvent myself was just to make these very small, personal films that I've financed myself.
I remember bumming rides across town to Georgia Tech, trying to get myself registered, trying to apply for financial aid, trying to get their coaches to watch my film.
I merely consider myself a father, and one role of a father is to provide financial resources for his family.
When I was a child, there was very little money, so I've always been concerned for my financial security, which has meant that finding myself as a writer was a bad move. The practical difference the money has made is that I can support myself by fiction. That is what I have been trying to do throughout my life.
I need nothing from my companion. No money, no financial security, no emotional support, nothing. All I want is the freedom to be myself.
I never had any financial support or sponsors, and so I always had to, at every level, prove myself the hard way. I was five years in Japan before I got my debut at Le Mans. And I think this is a humble way to get through as a racing driver.
The whole journey of being a wrestler is also a journey of finding yourself and who you are. If it feels natural to you, it's natural to me because I'm just being myself every time I'm out there.
I put myself in the place of the listener when editing my writing. The last thing that I want to do is be preached at and told who to be or what to think when listening to an artist. However, I do want to be inspired. There's a fine line.
I don't know what my label is. I just think of myself as a plain forward. I like to think I have some finesse to my game, but inside the paint is where men are made. If you can't play there, you should be home with your mama.
You have got to decide, look, this is who I am; this is my best way to present myself, and I'm going to ride that horse to the finish line. Not everybody will like it, but that's OK.
