“He who would pry behind the scenes oft sees a counterfeit.”

The glorious lamp of heaven, the radiant sun, Is Nature’s eye.

And that the Scriptures, though not everywhere Free from corruption, or entire, or clear, Are uncorrupt, sufficient, clear, entire In all things which our needful faith require.

Pity only on fresh objects stays, but with the tedious sight of woes decays.

Let Fortune empty her whole quiver on me, I have a soul that, like an ample shield, Can take in all, and verge enough for more; Fate was not mine, nor am I Fate’s: Souls know no conquerors.

Love is love’s reward.

Fattened in vice, so callous and so gross, he sins and sees not, senseless of his loss.

There is a proud modesty in merit.

All empire is no more than power in trust.

The scum that rises upmost, when the nation boils.

Men are but children of a larger growth, Our appetites as apt to change as theirs, And full as craving too, and full as vain.

The sooner you treat your son as a man, the sooner he will be one.

Faith is to believe what you do not yet see: the reward for this faith is to see what you believe. Thus all below is strength, and all above is grace.

He was exhaled; his great Creator drew His spirit, as the sun the morning dew.

All objects lose by too familiar a view.

Old age creeps on us where we think it night.

Courage from hearts and not from numbers grows.

I like getting carried away by what is happening and then decide each scene based on the actors, the set and the light.

I don’t believe in leaving a scene in because it was really hard to shoot, or because it’s the reason you took the movie, or because you always wanted to work with an actor . . . If it’s not making the movie work, get rid of it.

I don’t see myself as a documentary photographer. I am more drawn to the image itself, rather than to the description of a scene. And, anyway, every image only halfway represents reality, whereas the other half is rather, more or less, fulfilling our imagination.

I hope to be on the scene for a long time. I’d love to be old and gray and still be working in this [horror] genre.

Before this country came on the scene, for thousands of years people did things the same way. Within 200 years of the advent of this nation, men were walking on the moon, and I want us to recognize this is the kind of people that we are. We’re creative with a lot of ingenuity and a lot of energy.

It is dangerous to let the public behind the scenes. They are easily disillusioned and then they are angry with you, for it was the illusion they loved.

I couldn’t get a job to save my life. That’s why I wrote ‘Road to Paloma.’ That got into Sundance and got into that scene, and that’s how I got the role in ‘The Red Road.’

In ‘Fighting With My Family,’ there’s a scene where I have to wrestle; I have to do the famous fight between Paige and AJ Lee.