Norton in March 2012
|Born||Edward Harrison Norton
August 18, 1969
Boston, Massachusetts, U.S.
|Alma mater||Yale University, B.A. 1991|
|Home town||Columbia, Maryland|
|Spouse(s)||Shauna Robertson (m. 2012)|
Young people know how to use these social networking tools, and they know how to use them effectively.
When I'm the one who sits down and looks at the blank page and writes it out all the way, then I'll call it my script.
If I'm trying to put size on for a role, then I don't do much running.
I don't have anything to prove to anybody, which is a lovely place to be.
If you've got a piece and you can feel the person who's going to direct it is really made for it, if it's really special for them, then it's going to be a better-than-usual experience.
I never think that a film should answer questions for you. I think it should make you ask a lot of questions.
You always end up getting involved in things because of, you know, the strange things your life brings you into contact with.
All people are paradoxical. No one is easily reducible, so I like characters who have contradictory impulses or shades of ambiguity. It's fun, and it's fun because it's hard.
The film industry needs to confront the physical footprint of the way films get made.
I don't flatter myself – I'm not a scientist, I'm not a conservation expert.
Just because you've made a couple movies, you've done some good movies, you've been nominated for some Academy Awards, whatever, nobody's entitled. It's a business. If they don't see it, I can think they're wrong, but I'm not entitled to a $15 million budget to make a film.
When you're working on a creative thing, everyone has an idea, and they're pushing it. The first time you work with anybody, you have to get comfortable with the way another person pushes hard for what they want.
I think a lot of people relate to some of my characters' inner struggles.
I tend to have a kind of tunnel vision when I'm looking at an individual piece.
I'm fascinated by the ways in which people express themselves, because their responses are often counter to what they're actually feeling. Like when they're frightened, they tend to freeze. When they're angry, it doesn't always come out as volume. There are wonderful contradictions in the way that people express their emotions.
I think a lot of people in their average day actually imagine two sides of a conversation at one point or another. I think that the mental trick of holding two sides of a conversation in your head is actually something that we all do.
I always felt that acting was an escape, like having the secret key to every door and permission to go into any realm and soak it up. I enjoy that free pass.
Well, I don't feel that I've played so many bad guys, and I'm rot really drawn to villains per se. I think a lot of people relate to some of my characters' inner struggles.
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.
Instead of telling the world what you're eating for breakfast, you can use social networking to do something that's meaningful.
I've always liked the idea of taking old dramatic ideas and devices and making them feel relevant or contemporary or whatever.
I tend to relate to a character in terms of the arc: what's interesting is where he starts versus where he ends up.
I've always thought of acting as more of an exercise in empathy, which is not to be confused with sympathy. You're trying to get inside a certain emotional reality or motivational reality and try to figure out what that's about so you can represent it.
I'm not particularly precious about the theatrical experience any more.
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 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?
The people who work in the scientific field, they need help to convey what it's about.
I like it when the deeper you go with the character, the more you see the layers start to peel away.
Every little thing that people know about you as a person impedes your ability to achieve that kind of terrific suspension of disbelief that happens when an audience goes with an actor and character he's playing.
Life, like poker has an element of risk. It shouldn't be avoided. It should be faced.
Most of the films that I've ever really responded to are ones that I feel were really involved in their times.
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.
Basically, I think 21st century conservation is moving toward preserving ecosystems by dealing with the needs of people.
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.
In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.
I don't smoke and I don't want to smoke. I am not a fan of gratuitous smoking in films.
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.
I like making movies for myself and my friends and people with my sensibility.
Look, you've got a generation of people coming along who are going to form their own new relationship with the idea of supporting the causes that they care about or changing the world. And these people are not going to do it the way our parents do it.
I do find myself drawn more to pieces that I feel are wrestling with the way that we're living now, what we're all going through.
I read a lot of scripts and so many are clearly a knockoff of one familiar genre or another.
If I ever have to stop taking the subway, I'm gonna have a heart attack.
Anybody who is running a marathon or doing a walkathon, doing a fundraiser for their school, their company, by far it's guaranteed the easiest and most fun way to quickly set up a fundraising campaign and send it around to your friends and family.
The more you can create that magic bubble, that suspension of disbelief, for a while, the better.
You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label.
I have this embedded faith in the process through which films of a certain type get discovered on longer timelines.
People are worried about the degree to which corporate interest is starting to threaten human interest.