My movies are unadorned, they're not particularly fancy, I think they're kind of workmanlike in some ways, focusing on the writing and the acting.

I hate the whole reluctant sex-symbol thing. It's such bull. You see these dudes greased up, in their underwear, talking about how they don't want to be a sex symbol.

It's important for me to try my hand at philanthropy because I want to leave behind a record of someone who did more than just gobble up stuff for themselves. I realized that a life lived for yourself is not much of a life.

There is currency to celebrity, or celebrity is a currency... You can spend it in a lot of ways, or you can squander it. You can be taxed, as well. I really started thinking long and hard about how to use that currency as long as I had it.

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.

Well I've never used that phrase before, but yes she is bootylicious.

I learned that as a director, you're around all these talented people, so you have this window that all these really good ideas can come in to help your movie, so you're crazy to close them. You need to be inspiring people, engaging people. There are lots of people who are really good at their jobs but might not know or feel like they want to come up to people and get them to participate and want to do their best.