The more you do your homework, the more you're free to be intuitive. But you've got to put the work in.— Edward Norton
The most scandalous Edward Norton quotes that are new and everybody is talking about
Life, like poker has an element of risk. It shouldn't be avoided. It should be faced.
Sometimes we don't see certain things until we're ready to see them in a certain way.
To cite my own alma mater, it's shocking to me that Yale University can teach what it teaches at the Yale School of Environmental Studies and utterly fail to mirror those values in any way in its investment practices.
The more you can create that magic bubble, that suspension of disbelief, for a while, the better.
Anybody who is running a marathon or doing a walkathon, doing a fundraiser for their school, their company, by far it's guaranteed the easiest and most fun way to quickly set up a fundraising campaign and send it around to your friends and family.
Sometimes creativity is a compulsion, not an ambition.
I don't smoke and I don't want to smoke. I am not a fan of gratuitous smoking in films.
Well, I don't feel that I've played so many bad guys, and I'm rot really drawn to villains per se. I think a lot of people relate to some of my characters' inner struggles.
Popularity is the slutty little cousin of prestige, my friend.
I think there is a serious corruption in the idea sold through advertising that you can attain spiritual peace through lifestyle and the notion of building your happiness from the outside-in by acquiring things . . . which if you think about it, is the essence of advertising
I've observed over and over that people seem to get a much deeper sense of fulfillment out of something they've done as an act of service than out of the things they do for themselves.
I think that the environmental movement is wisely moving away from a largely emotion-based argument for the spiritual or intrinsic value of Nature with a capital "N" and evolving toward a very hard-nosed case for the economic value of natural capital, ecosystem services, biodiversity, etc.
For me there's always a line or two in a script, when you hit it you almost decide to do the whole movie off a line or two. You almost do it for the fun of getting to say a line or two like that. I don't have any specific plans, you know. I mean, if Seth Rogen calls with a great buddy pic, I'll be there.
It must be good to be in Germany and France, because I have completely forgotten what it is like to be proud of your government.
Every little thing that people know about you as a person impedes your ability to achieve that kind of terrific suspension of disbelief that happens when an audience goes with an actor and character he's playing.
My greatest hope is that we transcend the most fearful thing, which is that we are rapidly degrading the ecological systems on this planet that support everything we are doing and all life on it.
Look, you've got a generation of people coming along who are going to form their own new relationship with the idea of supporting the causes that they care about or changing the world. And these people are not going to do it the way our parents do it.
There is a lot of interesting product coming to market already.
Bags and bottles and cups and such made of potato starch and other fully biodegradable materials. In some sense, plastic is more chemically complex. We ought to be able to simplify.
I have this embedded faith in the process through which films of a certain type get discovered on longer timelines.
On the downside, to paraphrase Thom Yorke talking about the music business, we're still having to deal with the stench of the last fart of the dying corpse of this regressive vision that America is a white, middle-aged, male, conservative country.
When I'm looking for Zen and I'm not saying this facetiously at all - I would really rather surf, scuba dive, or fly my plane. And, when I feel tension about the grind of work, it's not getting the money to make films versus making films that constitutes the grind, it's all this stuff.
I get heartbroken flying into L.A. It's just this feeling of unspecific loss. Can you imagine what the San Fernando Valley was when it was all wheat fields? Can you imagine what John Steinbeck saw?
I hear about actors being exterior actors and actors being instinctual actors and I always think it's crap. Anybody who knows anything about it knows that good actors do both - they do inside-outward and they do outside-inward. You can't not do both.
There are tens of thousands of charities and hundreds of thousands, getting towards millions, of people now using it. And when I flip through it, I'm just blown away by people.
This place [USA] is exploding with young people who are - they're like Nietzsche's hammer - going to break everything and make something better. The creative energy in this country, and what people are coming up with is very hopeful.
I started, with three friends, this website called Crowdrise that's sort of the Facebook for personal philanthropy, a place where anybody can have a permanent microsite of their own to stage creative fundraising projects for the charities and causes that they care about. And we did it with serious intent but without any ambition.
You never make all things for all people and can't always pander to the broadest denominator. I keep an eye toward doing the themes that interest me. Do they move me? Interest me? Make me think? When I run across something that is provocative in an unsettling way, it appeals to me.
I studied French forever, and when do I ever speak French? I clearly should have studied Spanish. I wish I had stuck with music, because that would still be great. I really wish I had learned to surf earlier in my life.
When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want.
It's ginned up by the corporate plutocracy as a way of distracting the working-class people that it's screwing. We hamstring our own natural progressivism in this country, and that's really stupid.
I don't feel insecure about any of this work anymore.
Maybe I don't have what I had when I was younger. I'm not really hungry to prove anything to anybody, really. But when I stand outside myself and observe what I think are my strengths and weaknesses going into directing, it's what you just said, an affliction to organize moments.
As we say in the sewer, time and tide wait for no man.
I think the consensus among our generation and people younger than us is that we do have a defining challenge in the moment, so I do like being involved in something bigger than the finger-doodling I do in art. It stimulates your brain in certain ways.
I grow tired of intelligence having such a limited manifestation in movies - "intelligence" usually meaning coastal, with a certain level of formal education.
People think because I went to Yale that that implies privilege, and it is a privilege in the sense that it's an incredible opportunity.
But look at Avatar (2009), one of the most globally viewed pieces of entertainment to have ever been made - the central emotional event of the whole movie was a tree being cut down. And the entire movie, essentially, is saying, "If we let the military industrial complex trash the place that we're living in, we will have committed an epic crime."
As an actor, I don't have any politics.
As an actor, I'm driven more by an authentic - I would say an obsessive-compulsive-disorder level-fixation on mimicry, tonality of voice, to literally imitate something until I can just disappear into it.
When I think of my background, if I was privileged on any level, it was in terms of the kind of exposure to experience and bohe-mian cultural influence that my parents and my uncles and my grandfather gave me. On both sides I come from an extremely eccentric, artsy, intellectually intense, activist family.
The film industry needs to confront the physical footprint of the way films get made.
Just because you've made a couple movies, you've done some good movies, you've been nominated for some Academy Awards, whatever, nobody's entitled. It's a business. If they don't see it, I can think they're wrong, but I'm not entitled to a $15 million budget to make a film.
I like to get into a lot of things besides movies.
I've been very involved with a few specific efforts. We built this park in New York and it's been a very successful project... I worked on a conservation project in East Africa... Too much of this type of stuff can get you wrapped up in your own work and I love it.
I just don't think most of us are aware how much of what we throw away ends up in the ocean, for starters. Plastic bags are among the worst. The US is actually falling behind the curve on that score. China and many other countries have already banned the production and use of thin plastic bags.
The thing I'm absolutely convinced of, no matter how crazy - technological the world is getting, is that people feel more connected through the good works. Entertainment, and the sort of soporific effect it has on people and their stress, is one thing.
Sometimes their oppression of emotion and the weird way it comes out is more interesting than painting it in bold primary colors.
What has always been most interesting about acting to me personally is that it affords you the chance to shift gears, both in terms of the experiences you get to have through doing it, but also the different kinds of things you get to represent.
Most of the movies that I've made that I really felt good about and cared about made very little money anyway, so I'm not particularly worried about people downloading and sharing them.
The "environmental movement" is becoming an economic movement, is joining the social justice movement, is becoming a sustainability movement. It's leaving behind the "People's Needs versus Nature's Needs" conflict in favor of making the case for environmental health as the essential underpinning of prosperous and stable human civilization.
Making really great music, making really great films, writing great books is an antidote to all of that. And, as people, as artists, some of the massive disruption that technology is causing is so exciting, the way that people can share creativity now.
When I look at the directors that I really love, who really develop their films over time, they're almost always the ones who go back again and again and again at the same investigations. I think that when somebody has a theme they go after, it's fun to service that. It's like, "I know you now. I know what you go at." It helps you locate yourself a little bit quicker in their world.