Top 66 Keanu Reeves Quotes

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.

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

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.

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

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.

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.

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

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.

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.

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

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

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

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.

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.

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

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.’

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.

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

My name can’t be that tough to pronounce!

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

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

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 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.

I’m a meathead. I can’t help it, man. You’ve got smart people and you’ve got dumb people.

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

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

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

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

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 want to make a good, solid kung fu movie.

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

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

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

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

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

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.

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.

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

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.

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 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.

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.

I’m a meathead. I can’t help it, man. You’ve got smart people and you’ve got dumb people.

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

My name can’t be that tough to pronounce!

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.

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.

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.

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

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

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

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.

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

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.

‘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.

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

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.

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.

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.

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.