The world needs you. It doesn't need you at a party having read a book about how to appear smart at parties - these books exist, and they're tempting - but resist falling into that trap. The world needs you at the party starting real conversations, saying, 'I don't know,' and being kind.— Charlie Kaufman
The most revolutionary Charlie Kaufman quotes that will inspire your inner self
Failure is a badge of honor. It means you risked failure. And if you don’t risk failure, you’re never going to do anything that’s different from what you’ve already done or what somebody else has done.
You are what you love. Not what loves you.
The passionate ones, the ones who go after what they want, may not get what they want, but they remain vital, in touch with themselves, and when they lie on their deathbeds, they have few regrets.
Why do I fall in love with every woman I see that shows me the least bit of attention?
You and I share the same DNA. Is there anything more lonely than that?
Clementine: This is it, Joel. It's going to be gone soon. Joel: I know. Clementine: What do we do? Joel: Enjoy it.
Do not simplify. Do not worry about failure. Failure is a badge of honour. It means you risked failure.
We're all subjective beings and trapped in our own realities and our own biographical stories and physical bodies and our histories - and that's the only way we can experience the world.
When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.
Story ideas, but it's also musing on stuff that I'm thinking about.
This leads me to this and this leads me to this. They're kind of random and haphazard. Often I can't find anything. Somehow, by doing that, even though I don't necessarily refer to them in a specific way, I have some sort of architecture in my head.
I think directing and writing are very different jobs.
Obviously, directing is a more social and managerial job. The other thing about directing is that it's a very, very pragmatic job, and writing isn't.
Writing is a journey into the unknown.
I'm not a celebrity. I'm intentionally and defiantly not a celebrity. I don't have any interest in it. I don't have any talent for it. I keep my personal life out of my public life as cleanly as I can.
It occurred to me that every work of art is a synecdoche, there's no way around it. Every creative work that someone does can only represent an aspect of the whole of something. I can't think of an exception to that.
Constantly talking isn't necessarily communicating.
If you create something that is asking for people to respond as they're going to respond, you have to allow them to respond as they're going to respond. Some of the people are going to be uninterested and some people are going to be mad for some reason, which is their business. That's just the way the world is.
She was nice. Nice is good.
I'm not into extreme sports or something. I just live a quiet life.
From my vantage point in writing a story, I can't and don't and have no interest in thinking about the level of sophistication of the audience. I can only think about what interests me, and maybe what I would want to see if I were watching the movie. To me, that's the key to writing something that's not pandering.
People ask me all the time, "What are your influences? Are you trying to do Beckett?" It's like, "No, I'm trying to do me." Whatever that is. I don't know what that is, but that's the basis. I'm trying to be true and I'm trying to be honest.
The way I write is very much without kind of a goal.
I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.
I tend to not only read reviews, but also every little stupid thing online.
It's a very bad idea, and there's a lot of angry people in the world. And it's weird to absorb all that weirdness.
Sand is overrated. It's just tiny little rocks.
I think dreams are metaphors. Everything you do in writing is metaphorical. So it seems like the same arena to me.
There really is only one ending to any story.
Human life ends in death. Until then, it keeps going and gets complicated and there's loss. Everything involves loss; every relationship ends in one way or another.
You spend most of your time as a director trying to move forward with the movie.
It happens on a daily basis, if not more than once a day, that you are struggling with budgetary constraints. Whereas when you're writing, the limitation that you have is your imagination. So it's decidedly non-pragmatic.
Scary is time passing and sickness and dying and regret and isolation and loneliness and relationship problems - as opposed to a guy in a hockey mask, which didn't seem that scary.
There are too many ideas and things and people.
Too many directions to go. I was starting to believe the reason it matters to care passionately about something, is that it whittles the world down to a more manageable size.
When you approach middle age, lots of stuff happens.
Your body is aging, you're watching people around you get sick, you're watching people die, your mortality becomes very present at that point in your life.
There are so many people who are making movies now who can’t get any kind of distribution, so the market seems like it’s flooded.
Yeah, once we decided to use that replacement animation, and the seams are a function of that animation, and other movies paint those out, we decided we wanted to keep the presence of the animation and the type of animation that it was rather than make it look polished. It created a kind of vulnerability, I think.
My point of view comes more from the literature I've read and the comedy of the era. When I was a kid, coming across National Lampoon Magazine, that was a big thing. I suddenly felt like there were other people that felt the way I did, and there was a way of expressing and communicating this worldview.
It's good when someone comes to a book or a movie and interacts with it.
It's the difference between an illustration and a painting. An illustration serves a specific purpose, and a painting is something you can immerse yourself in.
The only way to do something interesting is not care if you fail.
I'm Jewish, and my family is Jewish. I was very interested in Woody Allen when I was growing up, but I don't think of myself as a Jewish writer. I'm more from suburbia, American suburbia. I'm more from the '70s than I am from Judaism.
My time on the set is the least of my involvement.
Most of my time is in pre-production and post-production.
I often have a theme in mind when I'm starting.
I know that I want everything to be in a world of, say, evolution, or guilt.
As I'm writing, I start to see connections, and themes I didn't see, and that sparks other things. So then I go back and rewrite things or alter them. It's a combination of intuition and a lot of finessing. It becomes a combination of the rational and the irrational.
There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.
The difference between a movie and a play is that the production you end up with is the production. If a movie that I spent time on turns out to be crap, it's never going to be made again.
I have a personality that tends to be somewhat compulsive, and I do tend to think in a circular way. I dwell on the same things over and over and I try to figure out different ways of looking at the same issue.
David Lynch is very important to me, and he does dreamlike movies, but my dreams are not like David Lynch's dreams. I have no interest in copying anybody's work. It would never occur to me to want this to look like someone else's thing.
I do a lot of things intuitively. I'm not often consciously aware of what I'm doing. It's like in a dream: There's something going on that's powerful but you don't know exactly why.
I wanted to deal with someone's idea of their relationship.
Every day of your life, you have information that enters your head, and that information informs your understanding of things, or shifts it, or changes it, or deepens it, or confuses you. Every day, every moment of every day - it's like this thing that happens.
You're dealing with the body, and you're dealing with bodily functions.
We romanticize everything about people in movies.
I try when I'm writing to leave enough "space" for people to have their own interpretation, and not to direct it toward one conclusion. Then the audience would not be reacting, because they are being preached to or lectured at. I don't have that much to say that I think people should listen to me.
Sometimes I don't like the books that I'm reading.
Say who you are, really say it in your life and in your work.
Tell someone out there who is lost, someone not yet born, someone who won’t be born for 500 years. Your writing will be a record of your time. It can’t help but be that. But more importantly, if you’re honest about who you are, you’ll help that person be less lonely in their world because that person will recognise him or herself in you and that will give them hope.