Keanu Reeves Quotations

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.

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

When I don't feel free and can't do what I want I just react. I go against it.

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

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

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

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

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.

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.

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

When the people you love are gone, you're alone.

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.

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.

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.

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

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

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

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

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

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

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

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

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

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.

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

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 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 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.

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

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.

I mean, if you didn't get it or if you didn't feel like you enjoyed it, sometimes that experience can change.

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.

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.

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

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

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.

My name can't be that tough to pronounce!

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

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

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

I have a producing partner named Stephen Hamel, and we've been trying to generate material.

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

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

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 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.

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.

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.

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.

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 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.

'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.

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.

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.

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.

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

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.

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.

When we talk about how movies used to be made, it was over 100 years of film, literal, physical film, with emulsion, that we would expose to light and we would get pictures.

mirror that is an archetype of our own time and our own life.

On his new motorbike: I wanted to spend some time with it and get to know it.

I got the script, read the script, really liked it,

I got smelled, ... we had a lovely conversation, and I was in.

If it doesn't have that element to it, it doesn't really attract me.

When I read in US Weekly the other day that she was fifty-nine, ... I was like, 'whoa, dude, no way she's old enough to be my mother.' Being with somebody that old is like committing incest, only you're not related.

Even though they are such fantastical characters and situations, it's still a man trying to figure it out. These motifs of messiahs and heroes and anti-heroes, these journeys are things that we deal with in our day to day.

It would be awesome to get him, even for just a cameo.

And I had a great time making Reloaded and Revolutions. It's great that people are coming out to see the films and I hope they enjoy them.

There were no paranormal events that took place on the film that I know of. Thank God!

It was just a lot of fun, really great,

I liked his richness of feeling. I don't know how else to describe it. No matter what he was doing, he felt it. He just seemed so open.

I'm meeting with Adrian Lyne and Catherine Zeta- Jones to do a reading of some of the scenes and hopefully we can get that picture made.

I just couldn't sit through Harold and Maude one more time, ... Diane has really old tastes for a woman her age.

Can you get halfway around the world? Can you do a walking trail of the movie?

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 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.

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.

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.

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.

Hallelujah! Amen! Christianity is so inherent in western story-telling, you can't really get around it. But it wasn't something that drew me to it more or less.

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

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.

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.

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.

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

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.

When I work on a film, you know, I try to get or inhabit the body of the character -from the vision of the directors or how i think the character should be - so if it's a film like SPEED, you hit the gym, you get to do some, train with SWAT People, hehe, but in general, I'm really focused and dedicated, and then in regular life, I don't go to the gym as often.

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.

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

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.

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.

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!

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.

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.

Life is good when you have a good sandwich.

In my quiet, I was working something out.

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.

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.