I couldn't be a novelist for instance. It feels like a very lonely endeavor. I don't know that I could survive the solitude of that.

Living in Cuba made me unafraid of whatever could happen to me.

I feel like success to me is about feeling like I have done something in storytelling, where I've gotten close to articulating something intangible that I'm feeling, and I think I get closer every time, but I don't know that I've done that yet.

I think one thing for sure that you learn the more films that you make is how important it is to choose your collaborators.

Eventually, if you're the train that's leaving the station, people will race to catch up with you. I think that's one of the things I've figured out. You can't wait for permission to act, you just do; then people are like, "Oh, look at that person just doing over there. Maybe I'll come join them."

The more time you invest in something, potentially, the deeper the emotional impact of the climax. It's true of relationships, too.

Sometimes big budget means explosions! CGI! CGI, the possibilities are so limitless that it begins to be impractical. I'm more interested in the kinds of movies where the science fiction world has a set series of rules and you operate in it because of, maybe, constraints in the budget.