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.

The problem was to sustain at any cost the feeling you had in the theater that you were watching a real person yes but an intense condensation of his experience not simply a realistic series of episodes.

My image had always been very heterosexual very straight. So it was a nice experience for me a chance to clarify my own feelings about gay and lesbian civil rights.

Sometimes I get so bold and I'm so confident about what I'm doing that I actually try to be more of a dork because it's a really liberating feeling to experience what it's like to not care.

If we didn't want to upset anyone we would make films about sewing but even that could be dangerous. But I think finally in a film it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.

Of two pleasures if there be one which all or almost all who have experience of both give a decided preference irrespective of any feeling of moral obligation to prefer it that is the more desirable pleasure.

I am so used to seeing the sort of play which deals with one man and two women. They do not leave me with the feeling I have made a full theatrical meal they do not give me the experience of the multiplicity of life.

I understand now that the vulnerability I've always felt is the greatest strength a person can have. You can't experience life without feeling life. What I've learned is that being vulnerable to somebody you love is not a weakness it's a strength.

If merely 'feeling good' could decide drunkenness would be the supremely valid human experience.

I love my early movies but naturalism is an artist's early style. Now I want to deal with feelings dreams an acceptance of irrationality.