Best 104 quotes of Keanu Reeves on MyQuotes

Abstract expression is so solid, so successful and recognizable, but there's a mystery about the artists that goes into it, a fetishism about the artists themselves and who they were.

And it's easy to stay grounded. The ground is very close. And we walk on it every day.

And of course to work with Jack Nicholson and Diane Keaton, and work with a wonderful, beautiful script directed by Nancy Meyers, it was really for me a dream come true.

Anything where there's great enthusiasm, and a place to come share what you think is cool.

Artists are losing the choice to use film. People have a love for it - the grain, how it feels, the texture.

Basically it starts with four months of training, just basic stretching, kicking and punching. Then you come to the choreography and getting ready to put the dance together.

Because we're actors we can pretend and fake it, but I'd rather the intimate investment was authentic.

But I did 'Bill & Ted's Excellent Adventure.' They made a cereal out of it, so once you've had a cereal, it doesn't get much more surreal than that. Surreal cereal.

But I think we're also just talking about the literacy of the audience. The visual literacy of the audience. They've seen so many images now, especially here in the States. There's so much to look at, to watch. So the visual storytelling literacy is harder to impress.

But, you know, it's still a drag to get your picture taken when you're eating a sandwich. It's a downer.

Environmental issues are on everyone's mind. It's part of our culture now and I can only applaud and laud anyone who is doing what they can and raising awareness.

Eventually, it came to this place like, "I'd like to direct, but I need to find the story to tell." Man of Tai Chi became the story to tell.

Falling in love and having a relationship are two different things but yeah I can imagine that you can kind of - I think it depends on one's psychological state. I think there are some people who are on the internet and can fall in love and seem to be in a certain psychological state and other people who are - who couldn't quite do that.

Fame is drag. The paparazzi culture is more pervasive than it used to be. On the positive side, it’s nice not to have to worry about bills.

For the gun work, I had more of the basic training from the previous [movie John Wick] and the weapon work I have done in the past. In the second movie [John Wick 2], it really went on into another level. I've done the three gun training, where you worked with the pistol, rifle and shotgun. So that all is in the film.

Grief changes shape, but it never ends. People have a misconception that you can deal with it and say, 'It's gone, and I'm better.' They're wrong.

Hallelujah! Amen! Christianity is so inherent in western story-telling, you can't really get around it. But it wasn't something that drew me to it more or less.

Here comes 40. I'm feeling my age and I've ordered the Ferrari. I'm going to get the whole mid-life crisis package.

How do I confront aging? With a wonder and a terror. Yeah, I'll say that. Wonder and terror.

How do people relate to movies now, when they're on portable devices or streaming them? It's not as much about going to the movies. That experience has changed.

I am not handsome or sexy. Of course, it's not like I am hopeless.

I am waiting for the right story to tell. Just like 'Man of Tai Chi' just seemed to be the right story to tell. So I'm looking for that. Because I really love directing. I love developing the story. I love actors. I love the cinema of it, the way that you tell a story visually.

I attempt to connect with my muse and go on demon rides.

I believe in love at first sight. You want that connection, and then you want some problems.

I cried over beauty, I cried over pain, and the other time I cried because I felt nothing. I can't help it. I'm just a cliché of myself.

I did do some things different [in John Wick 2], but it's different on basically the same things. Because I have the background from the first film, it was really the first time I was doing judo and jiu-jitsu.

I don't know any real jiu-jitsu or judo or anything. I do movie kung fu. With that, you can fake a punch, but you can't really fake a judo throw. You can get help from the person who you're throwing because they can kind of launch themselves.

I don't know if that's philosophy or if that's something else, but to me it [digital filming] has an emotional feeling , that this materiality, the loss of the materiality.

I don't know the law, the kind of law of quantity and quality, but I think the opportunity of people being able to express themselves and to have the means of production is a great thing. It's also changing how we're telling stories.

I do think there must be some kind of interaction between your living life and the life that goes on from here.

If we're talking about the science fiction or action genres, I've always tried when I could to do them in a way that's not just cookie-cutter - that they bring something fresh or original to it, have some kind of ideas to it. I've been fortunate, in some sense, to do those kinds of movies that are unique.

I guess I'm not really involving my imagination to that of a circumstance or happening - I'm just kind of acknowledging it as an existence.

I had the classic 40 meltdown, I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

I have definitely been curious and involved in the process; even as a young actor. I was always looking at where the camera was, what story it was telling. And as my experience grew, I wanted to know even more.

I hope I don't become just an animation [with a digital film].

I hope I get the bliss. And I know I'm going to have to work for it. But I've got to say, really, I have no kind of, can I say "secular religiosity"? ... I don't have a denominational sight.

I just felt that if I went into Speed 2, I just... wouldn't have come up out of the water.

I like meeting directors. It can be helpful because sometimes when you meet filmmakers you find out if you like them and if they like you, and that is important in terms of considering a role. Choosing a role is all about whether I relate to the role and the story really. That's the criteria.

I like writing songs. I like the camarderie of the and. I like touring. I love playing bass. And then there's free beer.

I loved the material when I first read it, and the experience of making the film was a great one. So when we came around to complete the trilogy, I just signed on board without even reading the scripts because the experience of the first film was so good.

I loved the role [of John Wick]. I loved the action. I loved all the new characters. The world expands into the Underworld. It's getting bigger. Yeah, it was a really great experience [in John Wick 2].

I'm a meathead, man. You've got smart people, and you've got dumb people. I just happen to be dumb.

I mean, I went to a Catholic boys school for a year, but that was to play hockey. Religion class was quite contentious for me.

I mean really wonderful. In teaching. Personal epiphanies. About life. About different perspectives-help with different perspectives that you have. You know what I mean? Relationships to nature. Relationships with the self. With other people. With events.

I'm Mickey Mouse. They don't know who's inside the suit.

I'm not a photographer, so I didn't get into F-stops or ND filters or background, foreground, cross-light, all that stuff. But I was interested in the camera and the lenses. That's the world that I'm moving in, in terms of acting and giving a performance.

I'm sorry my existence is not very noble or sublime.

In my quiet, I was working something out.

I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.