I'm not a lawyer, but I do know this: we need to protect our ability to tell controversial stories.
Lastly get emotionally connected to your story so you can deliver it, you know, if you can't deliver the emotions to your script there's no point to your story. Story is the key.
I am passionate. I am political about my country, about what it is, how strong it is, how strong it remains.
I'm fascinated by journalism. I put a keen eye, not a negative eye, on its role, particularly how it is changed by the times we're living in.
When I started, I was an artist; I wanted to be an artist. I became an actor almost by accident. I acted for fifteen years and tried to produce. I looked for stories that were the story beneath the story that you thought you knew, like 'The Candidate'.
When I was a kid, all I knew was that I felt more comfortable sitting in one chair than in another. And now I realize it was because one chair was older. I still respond directly to the age of things.
If you talk about an issue, what comes back is a description of what you're wearing. Reporters only want to know how tall you are and if your teeth are capped.
When you're making a movie, you don't think about the outcome. That's something I'm grateful for: whenever I go and do a new project, I never think about the outcome. It's always just about the work at hand. That's the fun part. The other part is always something I've had a struggle with, which is promoting the film. I know it's important.
It's an honor putting art above politics. Politics can be seductive in terms of things reductive to the soul.
When I became successful, I put up a caution. I didn't think it was fair to have the shadow of that kind of success thrown on my family. And I was cautious about being taken by things that could destroy you.
I was never a good student. I had to be dragged into kindergarten. It was hard to sit and listen to somebody talk. I wanted to be out, educated by experience and adventure, and I didn't know how to express that.
In fact you've got your hands tied behind your back when somebody chooses to take a low road in to you, there is nothing you can do about it, and so you just live with it and move on.
What I would like to do is a thriller. I've been wanting to do that for a long time, but one that was not at all dependent on special effects. Just purely psychological, but will scare the hell out of you. That's what I would like to do. I have not found it yet.
You can't completely control the sport - Tiger Woods comes close. The test is against yourself and nature's own way. I find golf a particularly good metaphor for this story.
I think documentary filmmakers need as much protection as possible under journalist's privilege. How else is the public to know what is going on?
When people start thinking of you more as a persona, they are less inclined to allow you to move into different areas. Sometimes they're wrong. Sometimes they're just very stereotypical or restricted in their own thinking of what they'll allow you to do.
I don't think about when it's going to stop and what you do before it stops. You just keep moving.
I never had a problem with my face on screen. I thought it is what it is, and I was turned off by actors and actresses that tried to keep themselves young.
Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.
I wanted to get out of this country and experience different ways of seeing the world. So I went to Europe, but I went as an artist. I was increasing my skill set and exploring storytelling through painting.
I think the environment should be put in the category of our national security. Defense of our resources is just as important as defense abroad. Otherwise what is there to defend?
The big moment for me was making 'All the President's Men'. It was not about Watergate or President Nixon. I wanted to focus on something I thought not many people knew about: How do journalists get the story?
I just wanted to paint and sketch and tell stories by drawing.
The focus of entertainment is taking away from what the public needs as news. I think investigative journalism will always be important and always find its way, be it on the Internet or wherever.
As an actor and as a person you come together with being in familiar territory although that has not been my whole life. That's been a part of it. I think a lot of people associate me with the west because of Sundance.
I'm always drawn to stories that people don't know about, particularly when they're inside of a story that everyone knows about.
I've always liked speed. I own a car that I shouldn't be talking about because I'm an environmentalist, but the 1955 Porsche Spyder 550 RS is the finest sports car ever made.
Ambiguity is something that I really respond to. I like the complexity of it.
The technology available for film-making now is incredible, but I am a big believer that it's all in the story.
It felt to me like America was always wanting to resolve things too quickly, without thinking through what the costs and consequences would be and how that affects an individual living in that world. Then as I grew up and went about my life, I think I just got more and more interested in that gray area where things are not so easily quantified.
A few years after that first visit, I applied for a job in Yosemite.
I am a cynical optimist. Big opening weekends are like cotton candy. The films you will remember over time are the films that stick in the consciousness of the audience in a good way.
I had just arrived in New York from California. I was nineteen years old and excited beyond belief. I was an art student and an acting student and behaved as most young actors did - meaning that there was no such thing as a good actor, 'cause you yourself hadn't shown up yet.
I'm interested in that thing that happens where there's a breaking point for some people and not for others. You go through such hardship, things that are almost impossibly difficult, and there's no sign that it's going to get any better, and that's the point when people quit. But some don't.
I think that people should be paying a lot more attention to other issues, rather than who's the top 10 this or... who's the sexiest or the most beautiful.
I began by doing a lot of character work on TV, just fun acting parts.
People say I've gone against Hollywood, but I've tried to be independent within Hollywood, tried to be my own person.
I had a mild case of polio - not enough to put me in an iron lung, but enough to keep me bedridden for weeks. As I came out of it, my mom wanted to do something for me. She realized that, growing up in the city, I'd missed out on a lot of nature.
I have the freedom to take chances, to say no. I have the freedom to be who I really want to be, rather than have to conform to this or that just to stay alive.
For 'Jeremiah Johnson,' nobody wanted to make that film. I went to Sydney Pollack, and I said, 'Sydney, I live in the mountains, and I would like to make a film about a person that had to exist in the mountains and survive in the mountains.'
Storytelling was a way to see the world bigger than the one you were looking at, and that had great appeal for me. I think, since that was part of my upbringing, it became part of me, and I wanted to pass it along to my kids and my grandkids.
I'm not a left-wing person. I'm just a person interested in the sustainability of my country.
The important thing about a sport is the people who devote their lives to it.