I feel like casting is the most important aspect of making movies.

After 2000 or so, I started to realize I wanted to be doing something else. I didn't want to be in front of a camera. I was frustrated. I didn't think I would stop acting, but I didn't want to be seen.

It's been reinforced to me, and it's a little cliche, but I've learned that you can't make a movie that even works, much less that's good, without really good writing and really good acting. That lesson has led me to not be distracted, so much, by the other stuff going on in filmmaking and to focus on the essence of a story, and the words and the events and the way that those are interpreted by the actors. That philosophy has taken me to a place that I really like.

I have three women in the house. I get to be wrong three times a day.

I don't want to jump off the roof or jump for joy depending on my movie reviews, or whether it makes money. I think the larger, more meaningful things are family and the people you love.

I don't think the government should be involved in any way in people's bedrooms or lives. With so much hatred and unpleasantness in the world, why would you want to get in the way of people who love each other marrying each other?

I've consciously taken on material that's a bit too much for me but not an overreach. The first movie, just about performances. 'The Town,' I learned how to work broader material, develop tension, direct bigger scenes, action sequences. 'Argo,' I experimented with film stock, widened the scope of my geography.