Roger Avary Quotes

I can remember when 'Pulp Fiction' came out. I was, like, 10 years old. But I remember the impact that it had.

My all-time favorites that I always go back to are films by the director John Cassavetes. The movies he made, the work he left behind, have been a big influence for my work.

The Ice Storm, because of the movie, has had, or is to have, a vigorous life in other cultures.

Sometimes a movie encapsulates a period or a moment in all of our lives in such a way that it never dies.

The work I did in Vertigo meant nothing if no one cared about the movie. Luckily, Vertigo had a revival and people had begun to recognize there was something special and it gained in reputation. But it just as well could have ended up rotting in film cans somewhere.

Like I said about Freaked, people tend to find these films, and I think that in the end the cool thing about a movie is that it can be sort of burnt temporarily, but then it's burnt into the fabric of your culture.

We've seen so many films now, that you have to be on par with the best films that have preceded you. You just can't make any movie and it will be good.

I don't know that I'll ever get to make my ideal film, because Frank Capra is dead.

Good movies beget other good movies. So when a movie captures the imagination and hearts of people around the world, it's going to have a positive influence on similar genres getting made.

'Devdas' isn't a real film. It isn't in the same genre as Mira Nair's 'Monsoon Wedding,' where the camera's presence is so understated it almost disappears.

I love movies where you can tell who's directed it even before the credits roll in, like Wes Anderson or Quentin Tarantino. People who make very stylized types of film.

I am a huge fan of Quentin Tarantino, who takes time to figure out what his next movie is.

'Barton Fink' owed something to Roman Polanski. As a director, he always goes beyond the obvious narrative drift.

I'm not exaggerating when I say 'Taxi Driver' was the movie that stopped me in my tracks. That was the first time it got me thinking about movies.

I believe, you know, as history unfolds, certain films will disappear, and certain ones will stand the test of time. And you never know which ones those are. And you've just got to go for the opportunities of films you think might be memorable.

I've written not milestones of cinema but millstones.

You never write a theme for a movie thinking, 'This will live forever.'

'Mildred' was the first film I shot on Super 16 with Ed Lachman, and we decided to continue doing so for 'Carol.'

If I see a now-28-year-old woman coming up to me, she's probably thinking of 'Juno' because she watched it with her parents when she was 18 years old.

What's so great about 'Gone Girl' is the conversations it provokes.

Irvin Kershner, no matter what anyone says, has done some great work. 'Eyes of Laura Mars' is an incredible movie.

If I'm going to make a genre film, it has to be personal and it has to be good.

I can't be part of what is being done in films these days and hence I don't do films anymore.

When I was eight or nine years old, my older cousin took me to the St. George Theatre on Staten Island to see a Bruce Lee movie and a Jim Kelly movie. Those were my first martial-arts films, and I fell in love with the genre back then.

I've obviously always been aware of actor-oriented films, being an actor. Altman and Cassavetes were really strong. And then I realized their structures were quite fascinating, too.