Derek Cianfrance Quotes

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After 'Place Beyond the Pines,' honestly, I was sick of myself. Sick of my own ideas. I wanted to do an adaptation, but everything I'd been reading, I just didn't understand it.

I ask all my actors to do two things: I ask them to fail for me, and I ask them to surprise me.

There's this thing in Hollywood about the sympathetic character and likability. I've never understood that because the people I love most in my life are not likable all the time. My wife is not always likable. I'm certainly not always likable. My dad is not always likable. We're human beings.

I love people that work with passion and love. When you make choices that way, there's reverberations, consequences. That's what I'm interested in, that echo, that ripple of choice.

When I cast great actors, I try to make extraordinary people ordinary, dealing with these extremely small intimate details of interpersonal relationships against an epic backdrop.

I think 'GoodFellas' is just a perfect film. From an efficiency of storytelling standpoint, from an entertainment standpoint, from a performance standpoint, from a use of music standpoint, from a cinematography and editing standpoint - to me, it's just a perfect movie.

I was a member of the VHS generation. I used to study movies as a kid because I had a VCR and could record a movie on HBO and just watch it repeatedly.

We had all these smiley family pictures all over the walls of my house, but I always found those pictures to be odd because we weren't smiling all the time. I don't want to paint the picture of a total dysfunctional house, but there were a lot of arguments in that house. A lot of pain.

There's one rule that I have on my movies, which is that anything that you want to do, you can do. But! There's a flip side to that, which is that anything I want you to do, give it a try also.

There's something so glorious in giving control to the world. I think that's what I'm trying to do in my films - control the world but also let it be chaotic, let there be life.

I love actors that are brave, that are courageous. And courage to me is not the absence of fear, it's the presence of fear, and they go to places that really scare them, because as an audience, that's where you feel danger.

I'm trying to be the coach. My actors are my players. They're doing things that I'm too cowardly to do myself.

Lars Ulrich, he was my hero growing up. I wanted to be like him. I played the drums.

It's like you take these great actors and put them in an aquarium of life and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.

From making documentaries all these years, it doesn't feel right to lead someone. In narratives, I'm always trying to shoot as though it's really happening, and I trust my actors are going to make decisions that I'm going to be following. I want to follow them.

I don't have a life, really. I take my kids to school, and I go home, and I write. Then I go pick my kids up, make them dinner, put them to bed, and write some more.

Right now, I think I have time to be three things, in no particular order: a father, a husband, and a filmmaker. That's why I don't go out - I have no space for it. I feel like one of those main things would suffer.

I've always thought that guns are a cowardly tool in the hands of men and women trying to solve problems with each other. And cowardly in the hands of filmmakers. It's taken so lightly in films.

I don't really collect anything. I grew up in a family that collected things, and then they'd get sick, and people die, and then they have their basements full of stuff that goes from one box to the next, so I try not to get sentimental with stuff. I just try to collect memories; I guess that would be it.

I feel like the job in editing is to let the movie tell you what it is. So again, it's like sculpture. You just start taking away, you add a nose here, you cut off, like, the side of the cheek over here in the crease, and you have a face. But it really reveals to you what it means to be over time, and if you have enough time.

I have kids. I can't hardly watch an afternoon football game with them without having to turn off the TV during the commercials. It's too much. I don't know when violence was deemed such a cinematic thing.

One of the bad things about being a filmmaker, about being me, is I can hardly read a book anymore because every time I read something, I have a poaching mentality, like, 'Oh, can this be a movie?'

I think book adaptations, the best one to me is like 'Brokeback Mountain.' Which is a short story, 21 pages, that expands so beautifully into a movie.

Seeing 'The Gospel According to St. Matthew' was an extraordinary experience because it made me realise that all the biblical stories and images I'd ignored as a child had sunk in by osmosis. I saw that my childhood was deeply rooted inside me.

When people think of biblical movies, they imagine sweeping epics like 'The Ten Commandments.' But 'The Gospel According to St. Matthew' is essentially a documentary about Jesus. It made me aware of how real life and personal experience can create more breathtaking, sensitive cinema than more sophisticated techniques.

If you make a movie that's close to your heart, it will be close to other people's.

When I was a kid, I had two nightmares: one was nuclear war, and the other was that my parents would get a divorce; and when I was twenty, they split up, and I just felt like I needed to confront all those things that scared me as a kid - entering young adulthood and trying to have relationships.

You turn on the news, there're no facts anymore. 'Here's what's happening today,' and then you cut to thirty minutes of people in little boxes, little windows, telling you their opinions on it. It seems like all the news is going on in the ticker-tape on the bottom of the news. It's all opinion, it's all editorial.

As a parent myself, I can appreciate the MPAA and what they're supposed to do, but what happens with NC-17 is that the MPAA is basically taking away the rights of parents. They're basically telling me that I can't show my kids this movie if I decide they can see it.

Every moment is, in some ways, eternal. Once you put something into the world, it stays there.

My older brother gave me a cassette tape of Mr. Bungle, and I couldn't stop listening to it. I used to drive around Colorado in a Mustang II - it was when they got away from the muscle-car Mustangs, so it was sort of old lady. I couldn't go above 45 mph in that car, but I would drive around listening to Mr. Bungle.

Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world.

I feel similar to a lot of people. I don't feel unique. So what I'm trying to do in my films is provide something for people like me, but also a collection of scenes that instigate.

To me, discomfort is a gift in the films that I'm making.

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