People in Texas wear cowboy hats; they're good at keeping the sun off your neck and face.
Most of us don't confront pure anything. What our life does involve is a whole lot of 60/40 and 70/30.
I broke a lot of conventions. Look, I spent a long time as an actor. I spent a lot of time playing pretty ordinary arcs.
We can't assign beliefs to people who don't have a voice to express them. And we can't assume what someone thinks.
While I feel it's important for films to examine our society, I don't particularly like watching the films that do it.
I saved every script I'd ever worked on as an actor.
To me, a purely good individual or purely bad individual, that's a comic book - that's a fantasy - and I don't do fantasy.
Bad people sometimes do good things, and good people do really bad things or do something the audience disagrees with.
Sometimes audiences want to see what we're doing to their world. It's our obligation sometimes to reflect it.
I was surprised by how much I liked 'Hacksaw Ridge' and its depth.
I'm not the guy to ask to write a sequel.
I had to push exposition through dialogue, which is really, really hard for an actor do.
I don't write tracking shots in my screenplays or any camera directions, but I do try to give a sense of how the action is moving.
How can you tell your kid, 'You can be anything you want to be,' if you're not trying to do the same?
There's not a lot of pure evil in the world, but it's amazing how little it takes to do great damage.
As a filmmaker, you have to stand in front of what you did and make choices that you could do with a clear conscience.
Until you've been to Cannes, it's hard to describe to someone the magnitude of that festival.
To get a film in Cannes is a real honor. To have it play and not get booed is a real relief.
Sugarcoating doesn't do anybody any good.
I work very hard to line up stereotypes and then smash them with a hammer.
As a television actor, I was held to a tight, rigid structure.
I'm a storyteller, and I was an actor, so I have a fairly thin grip on reality to begin with.
Once I finished 'Sicario,' I knew I wanted to follow it up with 'Hell or High Water.'
I let characters be human and flawed and relatable. When we do things that aren't that great, we can understand it.
When I write a movie, I write it for me.
I wanted 'Hell or High Water' to feel like a road movie and an exciting, fun film - until it's not.
