Charlie Kaufman Quotes

Failure is a badge of honor. It means you risked failure. And if you don’t risk failure, you’re never going to do anything that’s different from what you’ve already done or what somebody else has done.

The world needs you. It doesn't need you at a party having read a book about how to appear smart at parties - these books exist, and they're tempting - but resist falling into that trap. The world needs you at the party starting real conversations, saying, 'I don't know,' and being kind.

You are what you love. Not what loves you.

I think that people have expectations of themselves and other people that are based on these fictions that are presented to them as the way human life and relationships could be, in some sort of weird, ideal world, but they never are. So you're constantly being shown this garbage and you can't get there.

Say who you are, really say it in your life and in your work. Tell someone out there who is lost, someone not yet born, someone who won’t be born for 500 years. Your writing will be a record of your time. It can’t help but be that. But more importantly, if you’re honest about who you are, you’ll help that person be less lonely in their world because that person will recognise him or herself in you and that will give them hope.

I think of myself as a guy who tries to write screenplays and now has tried to direct one. Anything more than that is meaningless and it gets in the way of being a real human being.

The only honest and generous thing for me to do is to give people myself. That's all I've got as an artist, so I want to do that in an unflinching way.

I do like escapism. I like going to the movies on a Friday night and seeing something fun.

The passionate ones, the ones who go after what they want, may not get what they want, but they remain vital, in touch with themselves, and when they lie on their deathbeds, they have few regrets.

The conventional wisdom is - people say this all the time - you should only write something when you're far enough away from it that you can have a perspective. But that's not true. That's a story that you're telling. The truth of it is here, right now. It's the only truth that we ever know. And I'm interested in that truth and the confusion being part of the experience and sorting it your way through and figuring it out.

Why do I fall in love with every woman I see that shows me the least bit of attention?

You and I share the same DNA. Is there anything more lonely than that?

When I'm writing, I'm trying to immerse myself in the chaos of an emotional experience, rather than separate myself from it and look back at it from a distance with clarity and tell it as a story. Because that's how life is lived, you know?

Everything I've written is personal - it's the only way I know how to write.

Clementine: This is it, Joel. It's going to be gone soon. Joel: I know. Clementine: What do we do? Joel: Enjoy it.

There are nearly thirteen million people in the world. None of those people is an extra. They're all the leads of their own stories. They have to be given their due.

Do not simplify. Do not worry about failure. Failure is a badge of honour. It means you risked failure.

We're all one thing, like cells in a body. 'Cept we can't see the body. The way fish can't see the ocean. And so we envy each other. Hurt each other. Hate each other. How silly is that? A heart cell hating a lung cell.

I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.

The end is built into the beginning.

I'm in my mind a lot. I live there.

Everything is more complicated than you think. You only see a tenth of what is true.

We're all subjective beings and trapped in our own realities and our own biographical stories and physical bodies and our histories - and that's the only way we can experience the world.

I don't think screenwriting is therapeutic. It's actually really, really hard for me. It's not an enjoyable process.

When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.

The way I work is not the way that you work, and the whole point of any creative act is that. What I have to offer is me, what you have to offer is you, and if you offer yourself with authenticity and generosity I will be moved.

Story ideas, but it's also musing on stuff that I'm thinking about. This leads me to this and this leads me to this. They're kind of random and haphazard. Often I can't find anything. Somehow, by doing that, even though I don't necessarily refer to them in a specific way, I have some sort of architecture in my head.

I actually think I'm probably more interested in structure than most people who write screenplays, because I think about it.

Meet me in Montauk.

Writing is a journey into the unknown.

There's no way to approach anything in an objective way. We're completely subjective; our view of the world is completely controlled by who we are as human beings, as men or women, by our age, our history, our profession, by the state of the world.

I think directing and writing are very different jobs. Obviously, directing is a more social and managerial job. The other thing about directing is that it's a very, very pragmatic job, and writing isn't.

I'm not a celebrity. I'm intentionally and defiantly not a celebrity. I don't have any interest in it. I don't have any talent for it. I keep my personal life out of my public life as cleanly as I can.

I'm not into extreme sports or something. I just live a quiet life.

Constantly talking isn't necessarily communicating.

If you create something that is asking for people to respond as they're going to respond, you have to allow them to respond as they're going to respond. Some of the people are going to be uninterested and some people are going to be mad for some reason, which is their business. That's just the way the world is.

I try when I'm writing to leave enough "space" for people to have their own interpretation, and not to direct it toward one conclusion. Then the audience would not be reacting, because they are being preached to or lectured at. I don't have that much to say that I think people should listen to me.

I do believe you have a wound too. I do believe it is both specific to you and common to everyone. I do believe it is the thing about you that must be hidden and protected, it is the thing that must be tap danced over five shows a day, it is the thing that won't be interesting to other people if revealed. It is the thing that makes you weak and pathetic. It is the thing that truly, truly, truly makes loving you impossible. It is your secret, even from yourself. But it is the thing that wants to live.

I feel like I want to keep moving toward idiosyncracy. Personal, personal, personal.

I really like when critics reveal their subjectivity and their humanity. I prefer it when people say nice things, but if they say not-nice things or things that are critical, I'm open to it and I accept it. I mean, I have to live with it. But I do think there's a dishonesty in not acknowledging that you're a person with an opinion. I think it's almost like a power grab.

It occurred to me that every work of art is a synecdoche, there's no way around it. Every creative work that someone does can only represent an aspect of the whole of something. I can't think of an exception to that.

I hate a movie that will end by telling you that the first thing you should do is learn to love yourself. That is so insulting and condescending, and so meaningless. My characters don't learn to love each other or themselves.

Sand is overrated. It's just tiny little rocks.

She was nice. Nice is good.

The way I write is very much without kind of a goal. I have something I'm interested in and then I decide I'm going to explore it. I don't know where the characters are going to go, I don't know what the movie is going to do or what the screenplay is going to do. For me, that's the way to keep it alive.

I'm interested in trying to explore what I think is the truth at a given time in my life, and part of the process of being honest is - in my mind - talking about the idea that you're watching a movie.

People ask me all the time, "What are your influences? Are you trying to do Beckett?" It's like, "No, I'm trying to do me." Whatever that is. I don't know what that is, but that's the basis. I'm trying to be true and I'm trying to be honest.

I tend to not only read reviews, but also every little stupid thing online. It's a very bad idea, and there's a lot of angry people in the world. And it's weird to absorb all that weirdness.

And so not only do you have to make that work, you can't really start putting the thing together in any form because some of the shots are very short and obviously many of them take so long, you're waiting months and months and months before you can see if it's going to be working emotionally.

I do a lot of things intuitively. I'm not often consciously aware of what I'm doing. It's like in a dream: There's something going on that's powerful but you don't know exactly why.