Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.

The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?

George Lazenby is no one's favorite James Bond, but for me the anonymity at the center of this lavish production only serves to reveal the Bond machine firing on all cylinders: superb editing and photography, incredible score, great setpieces. The most romantic in the series, and it actually has, of all things, a tragic ending.

When you start really thinking about the potential of the human mind and its ability to create an entire world while you're sleeping, I come away feeling like our minds are not remotely understood by science.

To me, any kind of filmmaking that's reactive is not going to be as good as something more inventive and original.

I think there are advantages to different scales of filmmaking. You wouldn't want to do just one thing.

A hero can be anyone. Even a man doing something as simple and reassuring as putting a coat around a young boy's shoulders to let him know that the world hadn't ended.