Jake Gyllenhaal Quotes

Those of us who make films try to make something that we're feeling and that we would like. Then we just hope an audience responds the same way. It's very important to have the electrical circuit made, but I don't have control over how people feel when they flip the switch. So the whole idea of marketing research and test screenings is just foreign to me.

At 10 o'clock in the morning I'd go right in the studio. It feels good to be there in the morning before the day starts to mess with you - I don't mean in a negative way, but before I'd speak to a lot of people or get into anything, I'd go in there and just see what I felt. A lot happens in the morning for me in the studio.

I don't ever try to anticipate my audience. I just write the songs I want to write, and hope people like 'em.

People have to be given permission to write, and they have to be given space to breathe and stumble. They have to be given time to develop and to reveal what they can do.

Children should be introduced right from the start to the potentialities of their environment, to the physical and psychological laws that govern the visual world, and to the supreme enjoyment that comes from participating in the creative process of giving form to one's living space.

I think it's really important to not talk about how you're going to release something until you've finished it. People are like, "What are we going to make? What are we going to do with it?" and it's just like, "I don't know, we're just making music. Then we'll talk." You can't always write something you're happy with; you can't force it.

Every film I try and make it the way I see it in my head, and it really just depends on the script and the people I'm working with or whatever interests me at that particular time.

I work from the people that interest me, and that I care about, in rooms that I live in and know. I use the people to invent my pictures, and I can work more freely when they are there.

People seem to think that my movies are so carefully coordinated and arranged - and in a lot of ways, they are - but every single time I make a movie, I feel that every director makes these choices. You make choices about your script, you make choices about your actors, and how you're going to stage it, and how you're going to shoot it, and what the costumes are going to be like, and in every single detail, you make that decision. And for me, what ends up happening is, I wind up surprised at the combination of all these ingredients. It never is anything like what I expected.

I found the material that people hated the most and used the most. So, I was going and try and see if I could play with it sculpturally.

An artist must forget painting when he paints. That's the only way he will do original work.

Don't worry about trying to develop a style. Style is what you can't help doing. If you write enough, you draw enough, you'll have a style, whether you want it or not. Don't worry about whether you're "commercial". Tell your own stories, draw your own pictures. Let other people follow you.

The creative process must be explored... as the expression of the normal people in the act of actualizing themselves.

I don't like talking about my work at all. I find it very difficult. I never know what to say. It's too close to me, and there's so many things happening unconsciously while I'm working that I'm not aware of, and people will point these things out to me, and I'll say, "That's interesting." But I don't know what to make of it.

What is the truth is that every one of my films is a film that I'd love to go see, and I think that's very important because I always think it's a mistake to make movies for other people, or to make them for a demographic, or try to second guess an audience.

It's a lot easier to write about people when you're not living with them!

People have got that ancient prejudice so firmly rooted in their heads that one mustn't write save at I the dictation of the Holy Spirit. I tell you, writing is a business.

What I really do is take real plums and put them in an imaginary cake. If you're interested in the cake, you get rather annoyed with people saying what species the real plum was.

Imitation always stinks. When I take photos, I don't go back. I don't look at the past. I'm always original.

Painters paint outdoors, or in rooms full of people; they paint their lovers, alone, naked; they paint and eat; they paint and listen to the radio. It is a soothing way of doing your job.

You do the work and you want people to see it; but, um while I'm doing the work, the result doesn't matter at all to me. Ultimately, I don't, I don't care whether the film is - you know - some big giant box-office bonanza and I don't care if its a complete flop. To me, when a film gets made and it's actually finished it's a success. They're all a success in their own way.

You have to give people something to actually write music so that you're not just running your mouth all the time.

I've done so many albums where I've been in the studio for 14 hours a day for six months just trying to come up with things on my own. It's a nice change helping other people with their music and not being all about what I'm trying to do myself.

When people asked to buy my work I always said no. I'd had this rather rarefied idea that I didn't want money going through my head while I was making work. But after the car crash I realized that none of my work was owned by anyone. After that, I grew up a bit.

People will say things after a screening that it affects them in a certain way, which is why I don't like to explain what certain things are about. I want them to have that. It limits people's ability to understand something if I say it's "about this." That's happened to us a bunch on this.