I am very interested in architecture. I've been asked if I'd ever direct, but me, I'd rather build. It's very similar to directing, because you get to walk among this piece of art, to live in it, be surrounded by it, which is just thrilling.

We in America have some grand ideals - and some very strong ideals - but a lot of times, those ideals are used for marketing.

I look and there's our boy from Vietnam and our daughter from Ethiopia, and our girl was born in Namibia, and our son is from Cambodia, and they're brothers and sisters, man. They're brothers and sisters and it's a sight for elation.

The scouts [in "Moneyball"] could lend an authenticity that's even beyond what we had on the page.

New Orleans has a real spirit. It's the most authentic of all American cities.

The best moments can't be preconceived. I've spent a lot of time in editing rooms, and a scene can be technically perfect, with perfect delivery and facial expression and timing, and you remember all your lines, and it is dead.

I had the luxury of working on the script with Andrew [Dominik] for a good year before the film started, so I was already intimate with the story [of The Assassination of Jesse James] and felt quite prepared walking into it.