Keanu Reeves quotes:

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  • Falling in love and having a relationship are two different things.

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

  • 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.

  • Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

  • It's always wonderful to get to know women, with the mystery and the joy and the depth. If you can make a woman laugh, you're seeing the most beautiful thing on God's Earth.

  • 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.

  • Money doesn't mean anything to me. I've made a lot of money, but I want to enjoy life and not stress myself building my bank account. I give lots away and live simply, mostly out of a suitcase in hotels. We all know that good health is much more important.

  • The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.

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

  • Energy can't be created or destroyed, and energy flows. It must be in a direction, with some kind of internal, emotive, spiritual direction. It must have some effect somewhere.

  • You know what, I'd done an interview show when I was like 16 or 17. One of my first jobs. I did interviews for this television show in Toronto.

  • 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.

  • Letters are something from you. It's a different kind of intention than writing an e-mail.

  • 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.

  • Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.

  • The simple act of paying attention can take you a long way.

  • 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'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.

  • It's fun to be hopelessly in love. It's dangerous, but it's fun.

  • Kissing someone is pretty intimate, actually very intimate, and your heart always kind of skips a beat before you do that.

  • It's easy to become very self-critical when you're an actor. Then you get critiqued by the critics. Whether you agree with them or not, people are passing judgment on you.

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

  • Oftentimes, when we think of 3D, we think of things coming out of the screen, but actually, you've got this zero, this negative space, what they call the negative space, which is the scene, what's being filmed in the positive space of the audience. As you can have things come out, you can have all of this depth.

  • I've had the opportunity to work with so many great directors. Different styles, as well, like Gus Van Sant. He just does the casting and the milieu and let's you do your thing, quietly. Bertolucci, who can talk to you about your internal world in quite a creative way or just say, 'Well, put your hand over here.'

  • I've been pleased to work with so many wonderful stars through the years. This has been an amazing journey. I hope it continues.

  • 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've been really fortunate to be able to do different kinds of films in different scales, different genres, different kinds of roles, and that is important to me.

  • I try not to think about my life. I have no life. I need therapy.

  • There's nothing wrong with being gay, so to deny it is to make a judgment.

  • On a good night, I get underwear, bras, and hotel-room keys thrown onstage... You start to think that you're Tom Jones.

  • The whole aspect of cinema and film festivals should be a moment to come together and celebrate art and humanity. It would be a shame if there was such a divide.

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

  • Performing an exorcism was like changing your oil. It's a drag, but necessary.

  • I went with an exorcist for a bit. I just want to know really practical things, like how do you hold someone possessed by the devil,

  • Positive energy brings good feelings, and dark energy often means harm. But the destruction in dark energy is also a subtle aspect of construction, like how even forest fires have their benefits. Sometimes enemies are our best teachers, people can learn from their mistakes, destruction sometimes means rebirth.

  • Life and art had a nice parallel, in the sense of coming together as strangers who are separate in prison who need to work together, getting to know each other.

  • There's a lot of great writing, and characters, and stories being told in television nowadays. And much more than there used to be. The opportunities to tell stories, because of the opportunities to show content. And so it's drawing actors from cinema, movie actors, actors to where there's a lot of opportunities to where you can tell stories.

  • One of the aspects I like about the film is that there is a kind of emotional, psychological discussion during the storytelling, ... Before taking a drug, go through yourself, experience yourself, all your hopes and fears in your own time. Before the pharmacology, do the psychology.

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

  • I want to make a good, solid kung fu movie.

  • It's the journey of self, I guess. You start with this kind of loner, outside guy, which a lot of people can relate to, and he goes out into the world.

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

  • 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.

  • Tattoos are interesting, but at the same time they are also a mask - you are exhibiting your past life on your body.

  • Sure I believe in God and the Devil, but they don't have to have pitchforks and a long white beard.

  • 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.

  • 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.

  • 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.

  • The impact of falling in love for the first time has a special place in our arhitecture.

  • What would happen if you melted? You know, you never really hear this talked about much, but spontaneous combustion? It exists!...[people] burn from within...sometimes theyll be in a wooden chair and the chair wont burn, but therell be nothing left of the person. Except sometimes his teeth. Or the heart. No one speaks about this, but its for real.

  • 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.

  • My name can't be that tough to pronounce!

  • Our saving grace! Um, as a species [humans] we can be pretty warm and fuzzy. But maybe for this, it's the adaptability, or the heart and soul. We're not all that bad. I don't really know!

  • People were saying that David Geffen and I had gotten married and it just blew me away. Not that they thought I was gay, but that they thought I could land a guy that hot.

  • 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.

  • I used to have nightmares that they would put 'He played Ted' on my tombstone.

  • I'm a meathead. I can't help it, man. You've got smart people and you've got dumb people.

  • You want to play another kind of character in another genre, and it's been something I've been trying to do if I can in the career so far, and it's something I hope to continue because it's interesting to me and you get to do different things as an actor.

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

  • Grief changes shape, but it never ends.

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

  • A relationship is an imaginative act, it's an act of creation. Someone said to me the other day that a relationship between a person and a kid is unconditional; but the relationship between adults, to each other, is conditional, in a sense. But that condition can be the best kind.

  • 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.

  • All the dreams I dream are nightmares and those nightmares are the ones I live.

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

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

  • Art is about trying to find the good in people, and making the world a more compassionate place.

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

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

  • 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, itâ??s nice not to have to worry about bills.

  • 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.

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

  • I always felt a bit alone and isolated from other people...I did a lot of pretending as a child. It was my way of coping with the fact that I didn't feel like I fit in.

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

  • 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 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 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 guess living without love, without experiencing it or being able to give it is pretty strong punishment.

  • 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 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 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.

  • I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.

  • I think the form, the Hollywood movie, I think the quality is obviously always going to be there and I think that the question of taste, there's always a question of taste.

  • I was always interested - I mean, it's kind of part of your job - I was always interested in the camera.

  • I was hopeless at high school - I failed everything but Latin....

  • I wish I could say something classy and inspirational, but that just wouldn't be our style. ... Pain heals. Chicks dig scars. Glory... lasts forever.

  • If the Arabs are strong enough, they would destroy the whole world,therefore, we should annihilate them.

  • I'm older and older. With any experience you have, you know more about yourself.

  • In my quiet, I was working something out.

  • It carried quite a wallop. I have all the classic symptoms. Reflection. Where am I now? Where have I come from? What's important? Dealing with the moment of a different kind of feeling for mortality. Shifting of the body. Contextualizing or reevaluating behaviors and values. All those kinds of things.

  • It's hard to act in the morning. The muse isn't even awake.

  • Life is good when you have a good sandwich.

  • Luxury is the opportunity to experience quality, be it a place, a person or an object.

  • Money buys you the freedom to live your life the way you want.

  • Mortality is very different when you're 20 to when you're 50.

  • Nothing ever truly dies. The universe wastes nothing, everything is simply transformed.

  • One interview would lead us to another interview, which led us to another interview. We had the questions and the idea of chonicling this moment in time. But we didn't have a movie, per se. As we started interviewing people, it started to kind of define itself.

  • So many people have that relationship. The companionship. The connection. To our - to other beings, our pets. I hate to call them pets. But you know, to other creatures that we share our lives with.

  • Sometimes simple things are the most difficult things to achieve.

  • Sometimes, with the scale of a film, it's like when I walked on the sets of "The Matrix," especially in "Reloaded," there was the city square, or in "Revolutions" with some of the machine world, you're like, "Wow, this is a big playground," which is fun to watch. But the acting experience and the collaborating and creating the world, working on the piece, they're the same joys.

  • 'Speed' and 'Point Break' were a lot of running and jumping, and then 'The Matrix Trilogy' had a lot of fights and wire work and green screen elements.

  • The acting experience and the collaborating and creating the world, working on the piece, they're the same joys.

  • The anti-hero or hero usually has a journey or quest so they are interesting as you find out what's going to happen, what they are looking for. What are they trying to do? Sometimes what they do is heroic or comes with a price or sacrifice or maybe the way they do things isn't so great and that's when they become anti-heroes. But the journey of an anti-hero combined with a good story done well is always worthwhile.

  • The blues have always had some of the best times, best feelings Iâ??ve ever had.

  • The inspiration really comes first from the character and the story. That vision of what the story is, and what the character is, the world that they inhabit and what the story wants to tell. That's really what inspires me.

  • The recognition of the law of the cause and effect, also known as karma, is a fundamental key to understand how you've created your world, with actions of your body, speech and mind. When you truly understand karma, then you realize you are responsible for everything in your life. It is incredibly empowering to know that your future is in your hands.

  • The serialization through the Internet or through digital portals, means of ways of communicating, and I think that's great.

  • Violence is sometimes a very practical solution but I don't think it is the ultimate solution. Owning a gun is not OK for me. But I could argue both sides. Why shouldn't people own them? I'm not fundamentally against citizens having access to a weapon but I think it has complications. It's probably not the wisest idea. Obviously, it has consequences. Personally, I do not own a weapon.

  • Violence within the context of policing has a sense of control and power to it, whether it is dominance, getting what you want, or acting out of emotion. At the same time, it is not ultimately satisfying and [you are] trapped in the cycle.

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