Quotes from Terry Zwigoff

I think my father kept struggling to get us into better neighborhoods, better schools. One of the worst jobs he had was folding shirts under these fluorescent lights all day at the equivalent of a Kmart. I remember visiting him at work, thinking, 'When I grow up, I've got to do anything else.'

The films I want to make, I really want to be passionate about.

If I start paying attention to the mechanics of a film while watching it, then it's generally a bad film.

When I went around promoting 'Crumb,' there would be days I'd wake up in, like, Houston or Cleveland, and I'd step outside the hotel and get no idea where I was. It all looks the same: one big corporate, consumer theme park. It's all, 'Here's the Starbucks, and here's the Gap, and we'll go over to Banana Republic and the Cineplex.'

So I told Robert from the start that if we couldn't get Charles and Max to take part, but especially Charles, that I didn't want to make the film. So would he call his mother and talk to Charles and see if Charles would at all be interested.

A lot of things I have turned down ended up being a big embarrassment. Like that script, 'The Beaver.' I thought that was one of the worst scripts I had ever read. But everyone said, 'Ooh it's on the Black List.' Yeah, well, good for it. They're a bunch of idiots. I saw the final film, and there were no surprises.

Luckily, he was in the process of moving to France at the time, anyway. But if he had stayed in the States, I don't know how he would have handled that, because it was getting pretty crazy. I mean, a celebrity which he really did not welcome. And I can't blame him.

Oh yes, I've been approached to do all sorts of nonsense. How about a remake of 'West Side Story?'

For a long time, there was this rumor that I turned down doing 'Austin Powers,' which is not true. While they did send me the script, I don't think I was ever a serious consideration to direct it. I'm sure they probably sent it to 20 others as well.

Whereas my producer literally worked on this thing for 10 years and because I gave that presenter credit to David Lynch, she to this day never gets credit. It really kills me.

My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.

Just to get the actors to relax, listen to each other, and actually affect each other, there are a number of techniques you have to learn, and they don't all work on every actor.

I don't like most Christmas movies. They're pretty bad, though they seem to make tons of money anyway. Like this movie 'Elf,' I got the script for that, and I turned it down right away. Against my wife's better judgment.

The Weinsteins believe in test screenings. I don't. I don't think good films are made that way. Call me crazy, but I'd like to think you need a singular vision to make good art.

Saying that all documentaries are the same is like saying all foreign films are the same.

I gotta tell you, I don't have many close friends, and if I do wind up making friends with somebody, it takes me a long time, usually.

If I see my films described as 'quirky' or, even worse, 'snarky' one more time, I'm going to probably seriously consider an early retirement. All these years, I've labored under the conceit that they were "darkly humorous.'

A good script and perfect casting, that's 90 percent of the work.

The last Christmas movie I really liked was 'It's a Wonderful Life,' probably. It's sort of a schmaltzy movie, but it's not without its dark moments. It still gets to me every year.

I did turn down 'The Virgin Suicides.' I talked to the producers about it, and I just honestly told them that I didn't get it. Is it supposed to be funny, is it a thriller, what is it?

Maybe if I found something I was really passionate about, which is entirely possible, I would make another documentary, but it's not a good career choice for anybody. I don't recommend it.

That would be getting up at 5 am... I don't understand why film's shoot such brutal hours. I think it'd be worth it to not be so strictly cost-effective and have an 8 hour day. The film's would benefit in the end.

I'm not trying to be self-serving, but you know, you get to Hollywood, and if you want to make something big and loud and dumb, it's pretty easy. It's very hard to go down there and make a film like 'Sideways,' which I thought was a great film. They don't want to make films like that anymore, even though that film was very successful.

People like light and silly, and they like stuff that's really energetic, and you get a character in a film bouncing around and screaming, people laugh. That's all it takes. I don't find that funny. To me, what's funny is dialogue and nuance of character and performance.