Edward Norton

There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.

People wrestle sometimes making movies, and I think that conflict is a very essential thing. I think a lot of very happy productions have produced a lot of very banal movies.

I don't have anything to prove to anybody, which is a lovely place to be.

I remember as a kid having the offer of a scholarship, that it was going to be like going to Mars, and deciding to stay in my public school.

People are worried about the degree to which corporate interest is starting to threaten human interest.

You never make all things for all people and can't always pander to the broadest denominator. I keep an eye toward doing the themes that interest me. Do they move me? Interest me? Make me think? When I run across something that is provocative in an unsettling way, it appeals to me.

I think we really feel like Crowdrise could be something that, 20 years from now, people take for granted because that's just how you do it, like if you're going to raise money for something, that's how you do it.

It's better for people to miss you than to have seen too much of you.

I just like working with smart people.

No, I'm not a very methodologically pure actor.

I like making movies for myself and my friends and people with my sensibility.

I get heartbroken flying into L.A. It's just this feeling of unspecific loss. Can you imagine what the San Fernando Valley was when it was all wheat fields? Can you imagine what John Steinbeck saw?