Arthur Penn Quotes

There is a lot of my childhood in 'The Sandcastle Girls.'

I remember reading 'Catcher in the Rye,' but I don't think I got it.

My narrative style centers around intimate, highly subjective depictions of personal experience and internal landscapes. In 'March,' everything fell into place as soon as I began identifying strongly with John Lewis as a young boy and saw how we shared the same kind of gravity and intensity as youngsters.

'Superbad' was such a personal movie.

My favourite author as a child and teenager, and who I still re-read now, is K. M. Peyton. She writes very truthfully; sometimes I'm not sure if I've actually done things or just experienced them in her books.

When I watch 'Glee', it reminds me of my upbringing.

People always seem to see echoes of their own lives in my films.

Some of my favorite memories happened in the 'Boy Meets World' classroom.

A certain point came when I wanted to document growing-up adventures.

If you make a film about childhood, you've got to pick a moment - you know, 'The 400 Blows.'

When I had arrived in Italy, I had my CD Walkman and about 100 CDs. The song that spoke to me was Kate Bush's 'The Man With the Child in His Eyes,' from 1978.

With 'Dazed and Confused,' I got the high school experience I didn't get to have.

The children in 'Nobody Knows' had a resonance with me. The children are projections of myself.

The most autobiographical thing I've ever written is my second novel, called 'An Ocean in Iowa.' That is pretty close to my childhood.

I was blessed to have my son, ZZ, doing it; he managed to pull nothing but the truth out of me. Put all that aside, and you think how strange it is to watch a movie about some small, but important, part of your life.

Jughead, to me, was reflective of a teen experience that made a lot of sense to me.

I started writing my first book for young people when I was in college. I was only a couple of years out of my teens when I began; I felt closer to that experience than I did as an adult. But I've always been drawn to stories about young people.

You relate to a character and you find that character within yourself. It's all parts of me. I don't leave characters behind. I just let them go.

The kind of response I hope for when I write my novels for children: to give them a chance to recognize something of their own feelings -- about themselves, their parents, their friends -- and their own situation as a kind of subject race, always at the mercy of the adults who mostly run their lives for them.

For the most part, this record is autobiographical. At some point, the story of 'The Houston Kid' takes my experiences from 6 to 15 years old, and it sort of cross-pollinates with other kids in my neighborhood. It fuses their experiences with what was going on in my life.

I may have got a little carried away and many critics found fault with some aspects of the film, but as a coming of age film of a character, 'Vaaranam Ayiram' worked with the audience.

Real-life experiences will probably end up in my music.

I find often in Hollywood there are many people who play themselves really beautifully. And certain parts are not that dissimilar from who you are as a person. And there are other parts where you would like to think that you have nothing in common with those characters, but you probably do have more than you think.

I recently watched that Lucie Arnaz-produced documentary [Lucy and Desi: A Home Movie, 1992] about her parents [Lucille Ball and Desi Arnaz], and I saw so much of my own childhood there.

The theme of 'Charlotte's Web' is that a pig shall be saved, and I have an idea that somewhere deep inside me there was a wish to that effect.