I've looked at all of Hitler's speeches thinking that there's gotta be one where he's 'I'm Hitler!', but there weren't any. His speeches were all about hope and prosperity - he ran on a platform of peace and prosperity. Hitler speeches that makes him sound like a villain are pretty hard to find, he was very detached from what he was doing, he kept himself compartmentalised from it.

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.

Directing my own writing, I see that I talk way too much, and everything can happen much sooner, with much less said about it.

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

You know that certain things that you use in the film are going to be shown to audiences five hundred times before they ever sit down to watch the movie. So you have to kind of modulate what can I do to give marketing enough material but that I can still withhold certain things so that it's fresh and surprising for the audience coming to see the movie.

My films do very well on home video.

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.