"What’s really important is storytelling. None of it matters if it doesn’t support the story. I thought 'The Avengers' was an appalling film. They’d shoot from some odd angle and I’d think, why is the camera there? Oh, I see, because they spent half a million on the set and they have to show it off. It took me completely out of the movie. I was driven bonkers by that illogical form of storytelling."
Wally Pfister, DOP of "The Dark Knight Rises," on this summer's other big superhero movie.
"I got this script called 'Juno' and since I saw the name Diablo Cody I thought, 'Well, this must be a 12-year-old girl." Who else would have a name like that, right? And I read it and thought, 'Well this is pretty good for a 12-year-old girl trying to imitate 'Ghost World.' So I told my producer, who went on to do it, 'This is a retarded version of 'Ghost World.' I can't do it. I can't stomach it. Sorry."
Terry Zwigoff, on turning down "Juno"
"It was really hard to find the time. Even this was done moonlighting. But John was tenacious and that really helped. He was tenacious – he would show up at my house every Saturday morning and we'd have breakfast and start writing and he'd stay until dinnertime. And Sunday – same thing. During the week I would go over what we'd written and mark up the script and come up with notes and sure enough the next Saturday morning he'd be at my door."
Matt Damon, on his weekend job writing "Promised Land" with John Krasinski
It was a combination of 'I can't do this, I will fail, this will be embarassing' and 'I'm going to kick ass every day and murder this role and show people I can do more than make sarcastic comments and roll my eyes.' "
Aubrey Plaza, on taking "Safety Not Guaranteed"
"Is anything not surreal about being here? It's a sea of weird looking sunglasses and gift bags and a movie about your band that everyone's staring at."
James Murphy, on being at Sundance for the first time
"I had all of these terrible network experiences where I tried to make Seth Rogen and Jason Segel the leads of ‘Undeclared’ and [Fox] just laughed at me like it was the dumbest thought ever that anyone would want to watch a Seth Rogen television show."
Judd Apatow, on his early problems with TV
Wes Anderson, on working with kids in "Moonrise Kingdom"
"Money, I've become really interested in it because it's my paint, if you like, and I think that if you want to understand what's going on in any situation, you have to follow the money. It seems like it's really fucking out of control you know? The difficulty is that in a democracy, you have to persuade people and it costs a lot of money. You have to get it from somewhere and the people that have money have their own interests, and how does all of that get balanced out? But that's the price you pay for democracy. In the movie they can just shoot the problem, we can't do that under rule of law."
Andrew Dominik, director of "Killing Them Softly"
"I'm really well versed on a lot of directors' careers, you know, and when you look at those last five films when they were past it, when they were too old, and they're really out of touch with the times, whether it be William Wyler and 'The Liberation of L.B. Jones' or Billy Wilder with 'Fedora' and then 'Buddy Buddy' or whatever the hell. To me, it's all about my filmography, and I want to go out with a terrific filmography. [2007's] 'Death Proof' has got to be the worst movie I ever make. And for a left-handed movie, that wasn't so bad, all right? -- so if that's the worst I ever get, I'm good. But I do think one of those out-of-touch, old, limp, flaccid-dick movies costs you three good movies as far as your rating is concerned."
Quentin Tarantino, on why he's planning to retire at 60