How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.

I like being in real environments. I love being in the place that it's about - these sets and locations are characters in the movies. Can you imagine Breakfast at Tiffany's shot somewhere else? It's classic. Characters are part of storytelling; they're just as important as everything else.

I became a director just for the love of movies, because of the power of cinema.

You'll see in the movie he constantly does that-he only drinks his tea a certain way, brings his own tea bags, the guy pours hot water, it's like a consistency throughout the film, but he never breaks his habits. I mean, to a point, where he has to.

If you see someone lying out knives and forks consistently, but then one day those knives and forks become weapons you're not sure if he does that as a warrior, that's just his thing.

One hundred percent, I mean, many of the Sergio Leone movies were with Clint Eastwood, and that's what it is.

I like the opportunity to make films.