"The one thing I remember thinking initially when I was trying to make films, you always feel like—you got nervous that somebody else was right who was talking to you. Who was in a position of power, that their opinion somehow was right or better than yours. I could never stop to think that “No, it’s just different. You just think differently than I do and that’s okay. But I’m not wrong.” You can be filled with such fear. And it’s really easy to just get your heart broken and kind of beaten. You’re sort of attempting to make films… It’s a miracle any time one of them gets made. It’s a miracle. It’s a miracle every time a scene gets done. It’s never any less of a miracle or any less difficult… There just should be no fear. Just don’t give a fuck. That’s kinda the best thing to do."
"I think you’re way past having to defend any of your movies. Whatever you do for us, for me, for my generation, who grew up with you, you were always The Man. There was you, and then there was some other people. We always felt like, I always felt like, how the fuck does he do it? How does he get the camera to move like that? As you can see there are people, left and right, trying to imitate you, trying to rip-off how you do it. None of us can get it right. There’s a certain vocabulary that a few of us are armed with that get to make movies that directly comes from Marty and he will talk about the films he gets it from but you can never really recognize—you can recognize sort of what he’s talking about but he’s done moves and things, an attack on telling the story that is unique and was brand new when he started doing it, all the way along he’s been doing it, but he’s been developing it over the years — you see the culmination of it every time he makes a movie and seeing it tonight in this movie — we look at him and he is The Governor."
"I was doing a show one night, and I went back in the kitchen and was hanging out, and Paul Thomas Anderson was there. We were just talking, and he was like, “I’m doing this movie if you want a part in it.” I said, “Yeah, sure.” So they called me the next day and said I needed to come in to be fitted for a wetsuit. I said, “Can I see the screenplay first?” And they were like, “Nope.” So I went in and got this custom wetsuit made, and they gave me two pages of the script and flew me to Reno. We shot this scene and then hung out all night drinking. And a week later, we were shooting and I was in the wetsuit. It was so hot to the point where I wasn’t even sweating anymore. And Paul was dumping bottles of water on my head to keep me from passing out and I was like, “Paul, what are we doing?” He said, “I can’t say right now, but I’ll just say that you are the first frog that falls out of the sky.” And I went, “Okay.” So that’s what working with PTA is like."
Patton Oswalt on Magnolia (via wedgex