I love films like Deliverance where you can watch it over and over again and decode all of its many different meanings.

The biggest challenge is not coming up with the stunt, the biggest challenge is designing a sequence around it that sort of justifies its existence.

Evil is a really tough concept for me. The idea of a villain that is bad for bad's sake seems kind of absurd.

I love films like Deliverance where you can watch it over and over again and decode all of its many different meanings.

To me, the ultimate crime in an adaptation is the crime of reverence. A novel is one form of media, a screenplay is another, and a movie is yet another. There's even reverence to a screenplay.

Action to me is something very fun to shoot.

Normally, I tend to be a very binary filmmaker. You give me a problem and a destination and I say, "All right. If you want to get from here to here, there's a series of if/then's that will get you there. And if you have other stuff you want to do along the way, I'll give you all the if/then's that are caused by that."