Quotes from Derek Cianfrance

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.

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.

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.

As a writer, I always peel back the layers, go to the most sensitive places uncomfortably close to the heart.

I never learned to be a writer. I never took screenwriting courses. I never read anyone's scripts. As a writer, my only guiding principle has been to write about things that scare me, write about things that make me feel vulnerable, write about things that will expose my deepest fears, so that's how I write.

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.

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.

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.

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 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.

With each character in a movie, I'm looking for a human being. I'm looking for a person. And to me, I'm looking for a person that's full of strengths and weaknesses, a person that's full of successes and failures, a person that's full of joy and sorrow. I'm interested in people that are human beings that are alive.

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

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.

When we make these movies, you sign up for an experience. It's not just, 'Action! Cut!' There's not that safety in it. It's kind of a dangerous place to be. I mean, it is safe, but it gets personal. It's no longer about saying the lines. It's about really having an experience.

I don't think we ever know 100 percent of a person, even ourselves, but I think in families, you get closer to people's secrets and people's darkness - and their light, the full contrast of a person.

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.

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

I'm not asking actors to act. I'm asking them to behave. I want to see their being, not how they can fake it.

In terms of Ray Liotta, when I was a teenager growing up in Colorado, I didn't have pictures of girls on my wall. I had pictures of Ray Liotta on my wall. Along with Mike Patton, he was one of my heroes.

I'm not the greatest reader. I feel like I have a bit of dyslexia or something, and that's probably why I became a filmmaker. I have the need to communicate, the need to tell stories; and the need to understand stories led me to movies.

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.

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.

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.