We hope we’re not going to piss off the fans...to flesh out a few things in Adrian Veidt’s past...he has a kind of private, now, and a public persona...And may or may not have American and German accents.

It's called often the 'rubber duckie' school of drama. Mommy took my rubber duckie from me...some pop psychology answer. And really the brain is much more mysterious than that.

Children, the younger they are, they're heathens. They're wild animals. It's much more about instinct. Love is a fierce thing to a child. Separation from mother, you know, fear of death...what is death?

There is a domestication--that when you go out of a school, you have to behave like society wants you to behave...Politically speaking, I wouldn't accept it very easily, but I have to admit I've been socialized by school too.

Americans get accused of being philistines when it comes to art...This is the only place in the world that audiences are seeing the Roadshow Version, because all the distributors everywhere else in the world said, 'Nobody in our country will go see that.'

I’m very thankful for the poor bastards who came before me who had to suck it up and work like a dog so that I could sit around and crack jokes.

My best friends from childhood ran away. They got cold feet, and they didn’t participate...it’s not very cool to be a filmmaker and a left-wing liberal extremist and then...say, 'I remember we were going out to capture this village...'

They are very keen on acting in India...it’s absolutely imprinted in their DNA...The kids do bits of dance for you, from certain movies.

What we’ve been trying to do with all of our work in the series is to make the case that everybody is affected by anti-gay prejudice. It’s not just the kids who turn out to be LGBT.

[We] talked about Harold and Maude as a tone. Fisher King, I brought that up. And then Alfie and Five Easy Pieces and a few others…We wanted something realistic but funny…moving and emotionally deep.

Sexuality is really a way that people’s souls get expressed...I know that we have a tendency as Americans to sort of not go there, but I’m kind of interested in going there because I think it tells you a lot about someone’s psyche...

He’s very effusive and emotionally open in a way that’s not very masculine. And certainly not British...someone who sort of waves his arms around a lot and clutches his bosom. It’s like he actually thinks his life is a movie.

Well, the mythological arc of the saga doesn't really continue in these other things...which means we're not encumbered by this mythological uber-story of the psychological underpinnings of why somebody turns to be a bad person.

They can't run over us if we really want to stand up. So as long as we have our vote, we have some hope.

Leo: 'I think living with a gambling addict...whether she had this skill [for lying] before she was married to him all those years ago or not, she certainly developed it over the years and, in fact, we've taught her son to be a pretty handy liar too.'

I lost my virginity to Lorne Greene narrating Lorne Greene's Nature Wildlife Theatre. I think he was talking about how bugs gnaw each other's heads off while screwing. And here I was, not losing my head at all.

Duchovny: 'There is a journey to be had. So you either have to start on top or on the bottom for a journey to happen. You can't start at the middle...'

Carter: 'There's a beef recall. Mulder's a cross-dresser. Aah, I'm not going to tell you, only because you really don't want to know...'

It's splitting Q into two parts. Bruce and Lloyd make up one gadget guy, in reality. They're just two different parts of one person...

All the actors stayed in one house together, with some of the key crew members and Joe, the director...I decided not to--partly because I'd been to drama school, and I couldn't be bothered with it...I've lived in a madhouse.

The big myth—I’ve been asked this for fifteen years. And we’ll give it the same answer fifteen years from now. We never think of who our audience is. We always just made the movies we want to see.

I’ve never been much of a car guy myself. And I’ve been known to crash a few. I think I crashed the Batmobile when we were filming...the cars, the costumes, the set dressing—that really helps us, as actors, to get into character.

Probably the riskiest thing I did was being pulled behind a moving SUV down train tracks. Um, that was a little scary.

I watched anything I could get my hands on that Lily Tomlin was in. I'd watch a lot of Meryl Streep movies. Women who have spectacular timing.

I thought it would be interesting to see how he becomes Max. How they met. I know there was one story of how they met, obviously, in the pilot, in 1965, but I thought, 'Okay, what if we take a little license there and come up with our own...'

Being allowed to grow up feeling you're not being watched, not being tracked and able to do stupid things and screw up, being able to make mistakes, I think, was the key. Being allowed to screw up is wonderful...

People might give us a chance who wouldn't normally come to a Marvel-type film.

These men are developing--I mean the idea that men say, 'I love this guy'--they always say that. 'He's my brother.' 'I will die for him.' 'It was incredibly intimate. It was the most profound relationship of my life.'

What caught me off guard I think was not making the connection between how much money we had and what it would translate to. When you say we have a big movie, we have a big budget script and a small-budget, um, budget.

[Taylor:] Often you can use a director who doesn't speak English just as a mirror for your own instincts. Even though he couldn't tell me exactly what was wrong, it was really my job to...do what I thought was best...

[Emmerich:] It's a little bit like a time travel...these hunter-gatherer people meet the first farmers meet the high culture.

Once I started crying I couldn't stop...And when I stood up, everyone was just standing there in sheer--just silence. Franco said, 'Cut'...and he put his arms around me and said, 'You're gonna love Rome.'

Michel Gondry: 'Keep your money for yourself. Be creative and meet friends. And have a better life.'

Tim Roth: 'Most of what you're trying to do as an actor--I'd say ninety percent--is convince the audience that the dialogue is better than it is. So...you're running a con job on the audience.'

Jennifer Jason Leigh: 'One of the big ones was Al Pacino in Dog Day Afternoon...it made a huge impression on me.'

Noah Baumbach: 'Margot doesn't come there to wreck anything. She comes there because she loves her sister and wants to support her. She just can't help herself once she sees what the situation is.'

Ang Lee & Tang Wei: "[Lee:] They say, 'No pain, no gain.'...Sometimes I'll have a sleepless night, and in the morning I'll start to cry and I feel like I was in Mr. Yee's torture chamber."

David Cronenberg & Viggo Mortensen: [Mortensen:] That's a puzzle...if you look at Schopenhauer, he talks about compassion. And why does someone, when it does him no good whatsoever, go and assist someone?

Jonah Hill, Michael Cera, & Christopher Mintz-Plasse: [Hill:] 'The only reaction we've had with Lindsay Lohan was that impression we were doing of the newspaper...I was doing an impression of her s#$tting her pants in jail.'

Danny Boyle: 'Cillian at the end of the film, when he touches the sun...it was like 40 feet high and like 60 feet wide of lamps...it was like a U2 concert.'

Laurent Tirard: 'If you were an actor, you weren't allowed to be buried in a cemetery. You had to die in a ditch...what happened when Molière died was that the church refused to bury him. But because the king liked him very much, he found a way.'

Steve Buscemi: 'I have been asked to do Letterman. And the first time, I could not get past the pre-interview, you know, when the producers ask you for four stories...I could only come up with three.'

Tea Leoni & John Dahl: [Leoni:] 'So then, of course, the second I stick the knife in the watermelon, I almost vomited. It was just disgusting.'

Michael Winterbottom: 'I think, um, someone staged it. But it wasn't us...he did say all this on camera in front of the biggest possible audience you could have...maybe he could have found a quieter moment.'

Kasi Lemmons: 'I saw [Hughes] get up like "I can't, I can't watch this." It's either too close or it's bringing back some old emotions. But he would walk into the DJ booth, and you could tell he just felt nostalgic for it.'