You’re following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick – however roughly – to the path.
One of the things that is devastating is I realise I haven’t been living a different life than when I was, like, 12. I’m shocked at how reclusive I’ve been since then. I was unaware of it until recently.
When I grew up in the ’60s, we were actually dominated by this, you know, sort of conforming ’50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that’s true today.
I think over the course of 14 films, I’m returning to a place that I know to tell a story… the same way Spielberg returned to fantasy, Lucas returned to the ‘Star Wars’ saga, or John Ford returned to the western.
I’ve told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you’re not necessarily able to tell what’s real and what’s not.
With ‘Good Will Hunting,’ Miramax made certain the recruited audience wasn’t expecting to laugh at Robin Williams like they normally do. From my limited experience, you can really blow test screenings by conducting them in the wrong way.
Gay marriage is the last bastion of, to me… as a legal, ceremonial, sentimental and religious side, it’s one of the last steps. Retaining your job being one of the earlier steps, like, not getting kicked out of your job because you’re gay.
It’s hard to speculate as a human about the afterlife because you’re not in it. And it’s probably as wild and wacky as you could imagine. The idea that people have figured it out, I’m not sure if I can fathom that.
