Quotes from Peter Landesman

I start each of my scripts by going on a journey of painstaking research and discovery, much as I do a piece of long-lead journalism.

Film is probably the medium best suited to reach the most people - the visual, the aural, the limbic, the intellectual: it captures all these parts of our mind and soul. No other art form comes close.

I was a painter before I was a writer, so I was always a visual artist. And my writing, to me, was always visual.

Modern art, in particular, seems especially vulnerable to fraud. Its abstractions are sometimes difficult to understand or grasp, and a modern painting is often loved less because of its intrinsic quality - its beauty, as conventionally understood - than because of the identity of the painter, its mark of social status.

We've all seen 'Network' and 'Wag the Dog,' but we were somehow insulated by the fact that those were just movies, fictions, and we could rest easy that the Real News doesn't operate that way. Well, it does - sometimes.

I was a war correspondent and journalist for a long time, and I was very near the towers on 9/11 and very shortly after in Afghanistan.

I was a war correspondent. I've watched great people crumble under pressure and make bad decisions.

What interested me was the story of Bennet Omalu. You hear his narrative: Immigrant from Nigeria, landing in Pittsburgh, only to learn and tell the truth about this most American - and sacrosanct - cultural institution: the NFL.

I wouldn't let my children play football.

I played football the whole time I was growing up, and through two years of college. I think it's a beautiful game in many respects, one that allows you to follow a player from boyhood through manhood.

I can't worry about the consequences of what I do; that's not my job.

I was doing an investigative article on arms trafficking that was taking me through Eastern Europe and the Middle East. And after I had interviewed a helicopter pilot who had been ferrying weapons into Liberia, I realized as I left the restaurant that I was being followed and set up for an ambush.

When it came to 'Concussion,' I found myself with so many threads to weave. So integral to the whistle-blower's tale were spirituality, the cost of hero-worshipping, what it means to be an American, and just how dangerous the truth can be.

I consider myself neither liberal nor conservative when it comes to foreign policy.

Serious collectors and art experts, among the world's most educated, often cannot fathom the possibility of being rooked, and then once taken, cannot face the humiliation of admitting it.

I love the game. I love to watch. I watch it with my kids. I'm able to divorce the beauty of the athletics from the corporate entity that is the National Football League.

The story of Bennet Omalu is a riveting story; it's just a riveting tale. I knew from the beginning if I stayed close to that kind of storytelling and focussed on the character, then the other stuff comes along with it, and the message becomes baked into the journey.

The village of Polgardi is a dusty roadside settlement northeast of Lake Balaton, a resort area in western Hungary popular with German tourists.

Film brings together framing and light and color and performance and music and all of that. To me, everything I've done in my life has been preparing me for filmmaking.

A museum's meticulous presentation - exhaustive captions, hushed lighting, state-of-the-art armature - creates an institutional authority that is constructed to seem impregnable.

'Parkland' is not out to pick a fight and start a dialogue about conspiracy.

I'd followed the strange deaths of pro football players for years, sensing something odd going on.

There's a constant dialogue going back and forth between the filmmakers and the producers.

When a director is also a writer, everyone on the production looks to him, knowing he gave birth to the idea. There's a different level of viability.