I'm thinking of remaking 'Psycho' again. Doing a third remake. The idea this time is to really change it - we're talking about doing a punk rocker setting.

I've always been interested in how to present something that relates to our reality - which is not really... I don't even know if documentary itself does as good a job. It has its own problems in trying to get at the reality of the situation.

I've told people who have just started to make a film that the one thing you might experience is this feeling that everybody is conspiring against you, because you're not necessarily able to tell what's real and what's not.

If I'm diagnosed with cancer I might become despondent, but someone young might not, and they might need connections with somebody outside their circle of family because their family is so despondent.

If you put up posters around town for high-school kids, high-school kids will come. If you're casting politicians, you can't put up posters and have politicians come down.

In high school, I read 'Silas Marner' and I was very attracted to this character - he was very rundown and he'd just stop, and things would happen around him.

In rare cases, I've had music before I shot the movie. I think that for 'Good Will Hunting' I had an Elliot Smith record or a couple of them and I just somehow felt like the sound had something to it that reminded me of the story. So in that case there was music beforehand.

My art teacher in junior high was a very out gay man and a mentor to me. He would tell us about Greenwich Village and show us the 'Village Voice' and describe his life, but it was all sort of subversive and below the radar.

My family moved a lot as a kid. We started in Colorado, where I lived for five years. We moved to Chicago for two years, to San Francisco for one year, Connecticut for seven, Oregon for a couple years, and then I went to school.

My family moved a lot as a kid. We started in Colorado, where I lived for five years. We moved to Chicago for two years, to San Francisco for one year, Connecticut for seven, Oregon for a couple years, and then I went to school. So I was always moving, I'm still always moving.

Once you're directing, you're kind of in a certain mode, where you're taking whatever is on the page and forming it into the film that you think it might want to be. So whether it's my writing or not, I still try to work with it in the same way.

One of the things that is devastating is I realise I haven't been living a different life than when I was, like, 12. I'm shocked at how reclusive I've been since then. I was unaware of it until recently.

The artist himself is actually the subject in everything after, say, 1900. Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going on.

The biopic also wasn't a form that I necessarily believed in, because you can never really get it right, you know? It's also a form that's very popular - the straight-ahead biopic.

The dark comedies tend to be in a non-releasable area. There can be romantic comedies. There can be dramas. But there's no 'dark comedy' inbox for the advertising.

The reason I know about 'Tomb Raider' is from when I was researching 'Elephant.' It was 1999, and I was trying to research the Columbine-massacre kids, and they had played video games, and I, at the time, had never really seen one. It was a world I didn't know.

There are all kinds of ways that people present their films, but that's kind of a good feeling, if you can make it seem like the characters are really there.

There is a common theme, though, in the stories I have told, which are usually associations of characters or families that are formed outside of a family circle.

There is a way that a younger person can accept the inevitable problem that they're going to die, whereas somebody a little bit older might be overcome.

There's a lot of films that have relatively rigid road maps because they have a script and others that are less rigid because they have less of a script, like 'Elephant.' The road map becomes more interpretive, maybe, than one with a detailed script. Editing-wise, they all have their problems.

Usually when I read something, first of all I'm looking for the story and then when I reread it, I'm sort of checking every part of it to see if every scene is necessary.

Usually, when I read something, I'm looking for the story first. And then, when I re-read it, I check every part of it to see whether every scene is necessary. You imagine yourself watching the movie, to see whether or not you're losing the through-line of the story.

When I grew up in the '60s, we were actually dominated by this, you know, sort of conforming '50s culture, even though we were like trying to express our own culture, like, the dominant culture was the thing that was forming us. And I think that that's true today.

When I was 14, I felt very rundown; I had a home to go to, but I felt like I was 60 or something, older than I feel now. And I don't know if it's something that happens at 14, or whether it was adolescence or whether I was gay, or closeted gay, or whatever it was, I felt that.

Yeah, Kubrick's a big influence. In something like 'A Clockwork Orange,' he is trying to use the practical light - I mean, at least he says that in his interviews, like they're not using traditionally Hollywood lights. In 'Elephant' we basically used no lights; we never really adjusted.

You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.

Because I didn't have brothers, I was always interested in the kids down the street that had four brothers in their family, so I became one of them - but it was not my family. I've always been attracted to temporary families. They tend to be lost characters.

Even if you try to copy a film shot by shot, you still can't. It's still your own film.

When you get to be 23, 24 or 25, you start to freeze up and become an adult.

I find it interesting, the different rules that apply to journalism and drama, even though journalism has become more and more about entertainment, and entertainment has become more and more about journalism.

The area of teenage life is not necessarily rarefied; we've all gone through that period. It's not as rarefied as a western or a space adventure or a gangster film, but it has its own dynamic.

Even when you're making a movie about life, death is a presence, and I guess it's part of my dramatic viewpoint. I'm not sure why exactly.

Everything's changing so fast that it's sometimes hard to keep up.

For all the boredom the straight life brings, it's not too bad.

Free time keeps me going.

I had wanted to do a comedy.

I have my ideas of what a good documentary is, but drama is a different animal because you're arranging everything.

I mean, I think I'm pretty sentimental.

I think that in some cases, I've made films that have a sentimental quality, at least as part of the film.

I was once a shameless, full-time dope fiend.

I'd come into filmmaking as a painter so, for me, making 'Good Will Hunting' was experimental because I didn't know how to do it.

I'm a junkie. I like drugs, I like the whole lifestyle, but it just didn't pay off.

I'm normally drawn to something I haven't done and seen before.

I'm usually trying to react to what the actors are coming up with. And then the environment, and then the story.

I've always been attracted to temporary families.

If a movie isn't released, it's one thing, but if you know it will be, it's nice to have closure and see it come out.

If it were up to the executives, they probably wouldn't have directors at all.

If you don't have the story and the unfolding of the trajectory of the saga, it's like getting in a car and not having any gas.

Modern-day cinema takes the form of a sermon. You don't get to think, you only get to receive information.

My art teacher in junior high was a very out gay man and a mentor to me.

My department is to get actors to do stuff.