“I feel like I fucking blew it.”
Charlie Kaufman was talking about his career. More specifically, he was addressing his supposed failure to capitalize on the momentum generated by his scripts for “Being John Malkovich,” “Adaptation” and “Eternal Sunshine of the Spotless Mind.” Once upon a time, Kaufman’s name was spoken at Hollywood lunches with the same breathless excitement and opportunistic fervor that studio executives tend to reserve for young starlets — back then, he commanded more attention (if not more money) than any other screenwriter since “Lethal Weapon” scribe Shane Black. His potential in the industry seemed positively zoo-sized.
"I definitely felt like working on this film was the most dangerous thing I’ve ever done, even if there were no bombs going off around us. It really felt much more dangerous than being in Iraq, because it was very clear that we were angering the highest levels of power in the world. It was very clear, very early on that there were lots of people who would like to stop us."
FREDERICK WISEMAN // Little White Lies
"I've had ideas from all sorts of places. I mean, I had the idea for Model because I was reading People Magazine in my dentist's office, which is the only time I'll ever admit to reading People Magazine."
"What I love in a film is to be able to see the cost of a creation, to see that you’ve gotta face your demons and find a lightness going through the dark stuff inside. At the end of the day it’s the courage that takes you through things that makes you realize that you’ve done something to yourself."
"I think coming out is sort of like when a child falls over. If you freak out and go 'Holy shit, are you ok!?' The kid is gonna start crying. But if you’re like 'Eh, it’s no big deal,' then the kid is going to be okay. And I felt that way about coming out. Like for a little while I was like 'Holy shitt, this is the worst,' and I really indulged them and myself. And then when it was ugly I started making The Slope and my parents just had to keep up."