Keanu Reeves Quotes

I'm a meathead. I can't help it, man. You've got smart people and you've got dumb people.

The simple act of paying attention can take you a long way.

On a good night, I get underwear, bras, and hotel-room keys thrown onstage.

.. You start to think that you're Tom Jones.

If you have been brutally broken but still have the courage to be gentle to other living beings, than you're a badass with a heart of an angel.

'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

I don't know the law, the kind of law of quantity and quality, but I think the opportunity of people being able to express themselves and to have the means of production is a great thing. It's also changing how we're telling stories.

Sure I believe in God and the Devil, but they don't have to have pitchforks and a long white beard.

When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.

The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.

I used to have nightmares that they would put 'He played Ted' on my tombstone.

For the gun work, I had more of the basic training from the previous [movie John Wick] and the weapon work I have done in the past. In the second movie [John Wick 2], it really went on into another level. I've done the three gun training, where you worked with the pistol, rifle and shotgun. So that all is in the film.

I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.

Money doesn't mean anything to me. I've made a lot of money, but I want to enjoy life and not stress myself building my bank account. I give lots away and live simply, mostly out of a suitcase in hotels. We all know that good health is much more important.

I've been pleased to work with so many wonderful stars through the years.

This has been an amazing journey. I hope it continues.

I hope I get the bliss. And I know I'm going to have to work for it. But I've got to say, really, I have no kind of, can I say "secular religiosity"? ... I don't have a denominational sight.

Energy can't be created or destroyed, and energy flows.

It must be in a direction, with some kind of internal, emotive, spiritual direction. It must have some effect somewhere.

I do think there must be some kind of interaction between your living life and the life that goes on from here.

I just felt that if I went into Speed 2, I just... wouldn't have come up out of the water.

I've had the opportunity to work with so many great directors.

Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'

Grief changes shape, but it never ends.

I want to make a good, solid kung fu movie.

My name can't be that tough to pronounce!

I did do some things different [in John Wick 2], but it's different on basically the same things. Because I have the background from the first film, it was really the first time I was doing judo and jiu-jitsu.

Here comes 40. I'm feeling my age and I've ordered the Ferrari. I'm going to get the whole mid-life crisis package.

Sometimes, with the scale of a film, it's like when I walked on the sets of "The Matrix," especially in "Reloaded," there was the city square, or in "Revolutions" with some of the machine world, you're like, "Wow, this is a big playground," which is fun to watch. But the acting experience and the collaborating and creating the world, working on the piece, they're the same joys.

I think - I don't know, maybe it's nostalgia.

But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.

It carried quite a wallop. I have all the classic symptoms. Reflection. Where am I now? Where have I come from? What's important? Dealing with the moment of a different kind of feeling for mortality. Shifting of the body. Contextualizing or reevaluating behaviors and values. All those kinds of things.

Artists are losing the choice to use film.

People have a love for it - the grain, how it feels, the texture.

It's fun to be hopelessly in love. It's dangerous, but it's fun.

Letters are something from you. It's a different kind of intention than writing an e-mail.

I'm Mickey Mouse. They don't know who's inside the suit.

I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.

It's the journey of self, I guess. You start with this kind of loner, outside guy, which a lot of people can relate to, and he goes out into the world.

Eventually, it came to this place like, 'I'd like to direct, but I need to find the story to tell.' 'Man of Tai Chi' became the story to tell.

But I think we're also just talking about the literacy of the audience.

The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.

I am not handsome or sexy. Of course, it's not like I am hopeless.

I had the classic 40 meltdown. I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.

There's a film there in competition [of Sundance Film Festival] called To The Bone. It's directed by Marti Noxon. I have a supporting role in it. It got really well received. It's a really great film.

But I did 'Bill & Ted's Excellent Adventure.

' They made a cereal out of it, so once you've had a cereal, it doesn't get much more surreal than that. Surreal cereal.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

Kissing someone is pretty intimate, actually very intimate, and your heart always kind of skips a beat before you do that.

I try not to think about my life. I have no life. I need therapy.

I like writing songs. I like the camarderie of the and. I like touring. I love playing bass. And then there's free beer.

It's easy to become very self-critical when you're an actor.

Then you get critiqued by the critics. Whether you agree with them or not, people are passing judgment on you.

I don't know any real jiu-jitsu or judo or anything.

I do movie kung fu. With that, you can fake a punch, but you can't really fake a judo throw. You can get help from the person who you're throwing because they can kind of launch themselves.

How do people relate to movies now, when they're on portable devices or streaming them? It's not as much about going to the movies. That experience has changed.

I've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

I was always interested - I mean, it's kind of part of your job - I was always interested in the camera.

I think the form, the Hollywood movie, I think the quality is obviously always going to be there and I think that the question of taste, there's always a question of taste.

It's always wonderful to get to know women, with the mystery and the joy and the depth. If you can make a woman laugh, you're seeing the most beautiful thing on God's Earth.

When I think about him, I think about him as John and John Wick.

I think of John Wick being the assassin part of John. I would say that guy has strong will; never gives up; he's kind; and there's honor about him. He's also a man of strength. There are even some vulnerabilities to him. Most importantly, he's good at his job.