Best 49 quotes of Paul Haggis on MyQuotes

A creative person has to believe in the unseen and the untouched.

All the studios are owned by multinational corporations, which are not usually bastions of the left. So all the actors, writers, and directors - or at least a great majority of them - live in fear because we're all insecure, we all want that next job, we all want to be loved, and we don't want to piss off some studio chief who won't hire us for the next movie.

Always write from your gut, no matter what the project is.

As a general rule, I don't plan to travel with my Oscars, but we may have to make an exception.

I don't think it's the job of filmmakers to give anybody answers. I do think, though, that a good film makes you ask questions of yourself as you leave the theatre.

I found two true stories. One was in 2003. One was the beginning of 2004. I decided to meld them. Richard Davis' story which is the largest portion of this, a lot of the events are exactly as you saw, exactly what happened and the locations. Exactly as it was said with the chicken house and the strip club. Richard's parents were on the set and they'll tell you that the story is different than their son's. I was very concerned because I called them to say, 'You understand I'm fictionalizing this story?

If there's magic in boxing, it's the magic of fighting battles beyond endurance, beyond cracked ribs, ruptured kidneys and detached retinas. It's the magic of risking everything for a dream that nobody sees but you.

If you believe in someone enough, and you just don't stop believing in them, mo matter what, no matter how much they push you away, and no matter how often they prove they're only there to use you.

If you change the right mind, then that person can perhaps change the world.

If you make a film and then two and a half, three years later, suddenly the country's changed and you look like you just happened to hit it. I actually like being contrarian. I would have preferred to come out three years ago when everyone was disagreeing with me. But hopefully it asks a lot of questions about our responsibility in sending young men and women to war, especially a war that's so complex, where there's no right answer, where they're forced with impossible decisions every day.

If you're in a relationship and you try to trust somebody who's completely untrustworthy, when trust is the basis of any relationship and everyone else says not to trust, is love transformative.

I just always try to find an interesting story and tell it well. That's a hard enough thing to do, whether it's a piece of fiction or it's a small piece of reality. I just look for good story.

I just love actors, and I've always loved actors. I empathize with their job. Everyone thinks it's easy, and it ain't. To be that vulnerable and brave on camera is tough.

I just want to thank people who take big risks in their daily lives when there aren't cameras rolling. I want to dedicate this award to people who stand up for peace and against injustice and intolerance.

I like taking genres and subverting them. I did that with In the Valley of Elah. I said, "Okay, this is just a murder mystery. Relax." And then, two thirds of the way through, I broke every convention of a murder mystery.

Independent films are very hard to get made, but I'm lucky enough to get them made, so I'm going to keep doing it. I like my independence. I like being able to tell a story the way I want to tell a story. I don't like developing it with a team. I like coming to a story and deciding whether I want to do it or not.

I optioned the magazine article. That was end of 2003. It was a time when the war was incredibly popular here and everyone was driving around with flags on their car, if you remember not too long ago.

I really wanted to make a nonpolitical political film. I wanted something that folks in red states and blue states could look at and not ask if this is the right thing to do to be in this war, but what this war is doing to the fabric of our society.

I try not to think of actors as I'm writing because I think you do them a disservice by writing for things they've already done.

It takes me awhile to find something that I'm passionate about. I'm reading a lot and thinking a lot, and torturing myself a lot because I'm feeling really guilty for not writing something today.

I wanted to do a political film that is as nonpartisan as can be, because I wanted to do a story that was American. I wanted to tell an American tragedy.

I was fired from my own television show, CBS's Family Law. It was the second time this had happened in my career, the first being when I was fired from The Facts of Life. I had been grateful to work in TV for so long but had always been chasing a career as a feature writer-director and had completely failed.

I was trying to talk about where we are right now as a society, and talk about the fear we all live in, and certainly since 9-11, how it's affected us and the world.

Now we really like to put people in boxes. As men, we do it because we don't understand characters that aren't ourselves and we aren't willing to put ourselves in the skin of those characters and women, I think, terrify us. We tend not to write women as human beings. It's cartoons we're making now. And that's a shame.

Right after we invaded Iraq, I put a sign on my lawn that said "War is not the answer." That sign was either defaced, ripped up, or stolen every week. I had to replace that sign twelve times.

The hope is what America represents to the world and has always represented - the hope for a better life and a better world. We have a duty to protect and support that hope with not just our words, but with our deeds.

The radical rightwing pegs Hollywood as a leftist town, which is completely wrong. There are a lot of actors, writers, and directors who talk a liberal agenda... but all the studio bosses, for as long as there have been studios, have all been as far rightwing as you can possibly imagine.

There are very few guys like me. I make a lot of money. I didn't always.

There's something that's so basically corrupt about any system in which a good and fair profit is not enough. There has to be more, every year, every quarter, because your stock price has to rise.

The wrong one will start saying things like "withdraw with honor." We've heard phrases like that before, and they led to thousands and thousands of deaths. Democrats always want to look tough.

This is our fault. My fault as much as the next man's, because even if I was against the war, I didn't do enough to stop it.

United States could be a great country. It needs to be a great country. It's our responsibility as citizens to make that happen, every single one of us.

Unless I'm really uneasy with what I'm writing, I lose interest very quickly.

Usually the characters are where I start. Then I continually ask myself, 'What's the worst thing that could happen to this character?'

Walk through Santa Monica and try to find somebody who knows a young man or woman who's in this war. Here, war is an intellectual concept. If you lose your son or daughter, it's no longer an intellectual matter.

We all have these tendencies in us that could go this way or that. I think that's the real key in writing. To look at a character without judgment.

We are manipulated by fear and the fear of others, and how we're often manipulated into doing things and voting in ways that are against our own best interest. Look at healthcare. People will tell you that healthcare is socialism and communism, and they're doing this while their wife needs an operation and their kid needs braces.

We crash into each other just so we can feel something.

We give you characters we'd feel very comfortable judging, and then go: 'Oh yeah? Watch this'.

We never did just one take. Multiple takes. Many. I did a bunch. Sometimes I do one take. Sometimes I did 20.

We're trying to reinvent Bond. He's 28 - no Q, no gadgets.

We think we know what's right. With excessive pride comes blindness.

What happens when these young men and women come home so scarred and so wounded? We are ignoring that fact. We're just shoving them under the carpet.

What I love about writing is the contradictions we all embody as human beings.

When we're threatened, it's very easy to appeal to our basic natures.

You'd be surprised how many writers, or how many actors, if they miss a paycheck or two, they've got nothing. As a writer or an actor you can have four or five jobs in one year and then have none for two years.

You don't make a film because the audience is ready for it. You make a film because you have questions that are in your gut.

You have to be careful of the advice you take.

You hear this story that we're all on the left, but when there's a demonstration, you count how many actors actually come out. If there's a half dozen, that would be a big day.