Paul Haggis
Paul Haggis
Paul Edward Haggisis a Canadian director, screenwriter, and producer. He is best known as screenwriter and producer for consecutive Best Picture Oscar winners, 2004's Million Dollar Baby and 2005's Crash, the latter of which he also directed...
NationalityCanadian
ProfessionScreenwriter
Date of Birth10 March 1953
CityLondon, Canada
CountryCanada
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They managed the campaign very well, getting the DVDs into the hands of the viewers, believing that the picture would sell itself. I thought that we had absolutely no shot at the Oscar, though I hoped that some of the actors would be remembered.
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I have never pretended to be the best Scientologist, but I openly and vigorously defended the church whenever it was criticized, as I railed against the kind of intolerance that I believed was directed against it. I had my disagreements, but I dealt with them internally.
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I have so many questions about love. How do you win at it? Especially if you're in a relationship with an impossible person? What if you believe in someone who's completely untrustworthy, who at their core can't even believe in themselves?
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'Crash' was incredibly personal to me. So was 'In the Valley of Elah.' There were things in 'The Next Three Days' that were questions I was asking myself but couldn't answer, like how far would you go for love? Can you believe in somebody who can't even believe in themselves? But this is highly personal.
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In 'The Next Three Days,' even though it was a prison breakout movie, I was asking myself, 'What would I do? How far would I go for the woman I loved? How far would I go, and what would I do when the person then told me that they were guilty? Could I still believe in them?' So it was very personal.
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If you believe in someone enough, and you just don't stop believing in them, mo matter what, no matter how much they push you away, and no matter how often they prove they're only there to use you.
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A creative person has to believe in the unseen and the untouched.
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I knew if we did it right it would get under people's skin, and they would react one way or the other. So it doesn't bother me when people say they hate it for this reason or that. It got to them, it made them look at something they would rather not have looked at, so the movie succeeded, at least for me.
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I'm really thrilled to be doing this. This is something Bobby and I have been passionate about doing for a while.
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You either get the movie or you don't, and if you don't get it, it's just the dumbest movie of all time. Some people are really challenged by it. It makes them incredibly uncomfortable, I think, and they come up with various reasons why that's not their fault.
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This all came from the time in the '70s when it actually snowed in Los Angeles. I figured, you know what? If it can snow in Los Angeles, anything is possible. Maybe there's actually hope for us.
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They're talking to three to four girls right now. Every week I read there's a new Bond girl, and I call them and they say, No, you idiot.
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As a filmmaker, it's a great thing to feel you've really affected them, one way or another. I'd much rather have that than have someone say, 'Nice film, man.' That's a stake through your heart.
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Of course I feel guilty about manipulating the audience, playing on their preconceptions in that way, ... But that's my job.