David Gordon Green quotes:

When you say "Holy Man", I immediately think of Eddie Murphy's finest hour. If it's anything comparable, I'm excited.

A lot of people inspire me. I'm a huge movie buff. From studying and watching movies, over and over again, directly influential are Terrence Malik and his naturalism, Robert Altman and his exploration of improvisation, and Judd Apatow, in terms of his comedic process.

Sometimes you'll have great actors who aren't comfortable with improvising. Which can get pretty frustrating. But every actor's coming from a different place and they have their own strengths and weaknesses and your job is to sell them as two people in the same world. Some of them have to have their hands held and some I just let loose entirely.

I've never wanted to be a fireman, in my life. I've never really wanted to grow up and be anything other than a film director.

It's been an obsession of various genres, disciplines, and aspects and elements of movie-making. It's always been something that I've really aspired to, so doing something new and different, reinventing myself and working with new people is just the passport to the amazing world that is the movies.

Sundance [festival] is all your Hollywood buds and buddies and rolling out and high-fiving and "Hell, yeah. Here comes the movie," and in Venice, it's very elegant, and respectful...It's decadence. It's such a fun way to formalize a movie that is for us a down-and-dirty, gritty movie. And to see it with the red carpet, and rolling up in a Maserati.

I never really had a real career trajectory idea. I just like a lot of different kind of movies, I wanna make a lot of different kind of movies, and to some degree you follow opportunity and to the other degree you have to create your own opportunity.

Everybody's got their tools or their instruments, and it's fun to see how people expose themselves to their profession or their profession becomes who they are.

I've always had great independence on everything I've done. Nobody's ever told me not to do anything.

Fortunately, working with Universal was just a real opportunity of a supportive entity, who not only financially backed and distributed the movie, but creatively collaborated with us, and gave us ideas and creative ways to make a movie that was budgetarily responsible.

The people that I associate myself with are people that are looking to make a good product because it's going to benefit them and it's going to help launch their careers.

I'm not a director that's about precision and control and perfection, I'm about creating an atmosphere that's organic and interesting and then letting people loose, and for that there's no greater actor or performer than children. Animals are maybe a close runner-up.

We were in production on a movie called All the Real Girls, which filmed in the Fall of 2001, and we really discovered who Danny McBride was, as an actor. When I say we, I mean me and a crew and a small audience that would hit the art house. He'd never acted before, and it was a really refreshing, eye-opening experience to watch him unleash, in front of the camera, all this comedic potential that we knew he had, as a human being and as the guy doing keg-stands at the party.

Sometimes an actor doesn't sell an idea 100 percent. It just sounds like something that's coming out of their head. You can hear the gears whirring and they're trying to think of what the smart approach is to getting a line across.

Every new project I do is a new invention of myself and reinvigorates me as to why I love the industry.

I love animals. With animals you never know what you're getting. Everybody says don't mess with animals and little kids in movies but those are the funniest things because you can't be in control. I like to lose control as a director.

I always cast people with a sense of humor because people that are super serious don't understand when I ask them to eat a booger it's not necessarily about that. It's about something more. It's about inviting a little bit of absurdity into the process and humanity into the process. Making sure that no matter who we are and what sort of pedestal or glamorous lighting we're under, we're all eating boogers man.

Sometimes in the studio movies I've been working in, you'll put a joke in a movie because the crowd loves it - not because I love it.

I live part-time in a cabin in Colorado up in the mountains and part-time on a ranch in central Texas - but do I really know how to go brand a cow, or do I really know how to go rappelling down a cliff? No. I do the recreational, half-assed version of all these manly activities and then try to keep that kind of Zen masculinity, like, "I'm a man of nature."

There's something within contemporary culture which is far more faux masculine than it was when men were really men.

I've protected my protracted period of infancy. For many years. And I have no desire to become an adult.

I saw how you could get away with such a free-spirited, naturalistic sensibility in a mainstream Hollywood movie, and you could apply a lot of the skills of the '70s icons that I really admire to a contemporary, commercial movie.

When I work on something I'm not excited about or not as proud of it as I'd like to be, then I try to work even harder to make the next one and address those insecurities, I tackle insecurities rather than run from them.

I think my interest in risk is pretty high, a lot higher than I think a lot of other people who are just looking for something to kind of define themselves, give them a set of fingerprints, and certainly is better for the pocketbook. For me it's always about trying new things and wanting to explore something else and something new of myself and of actors I really like.

When you see somebody actually be able to channel that into an accessible, beautiful tool, you start to see the craftsman behind it.

The difference between this film [Your highness] and Pineapple Express was pretty much in the logistics of the technical ambition of the movie, and the size and scope of the movie. Pineapple Express was a great success, and that was something that we wanted to capitalize on, but we wanted this movie to be bigger, more adventuresome, bring a bigger audience to the movie, and challenge ourselves to do something new.

With Hollywood you're yesterday's news if you get a flop at the box office. So you might as well be braced to have something else to do that's interesting. Have something lined up to keep your stories fulfilled, and your ideas, because if you're just cranking out movies three times a year.

It is better to develop ideas with friends rather than the usual route of having a great idea and throwing it out into a production, and being surrounded by professionals who've been doing their jobs for years.

the things that people are typically afraid of are what I find most exciting and unpredictable, and I guess that's part of the problem is people don't want something unpredictable wasting their time while the cameras are rolling, where to me that's by far the most interesting part.

I consider myself more of a film fan than a filmmaker, or I guess it's kind of a balance, fortunately. But I really want to see good movies as much as I want to make good movies and I want to see bizarre movies as much as I want to make bizarre movies.

One of the things I wanted to do after three, prolonged movies is to do something that was really, kind-of knee-jerk decisions, and artistic instincts and strip down the process to more of a guttural level, and make something that wasn't so manicured and polished; wasn't quite so developed and supported, and just run wild with it and see what happens with it.