A camera is a camera, a shot is a shot, how you tell the story is the main thing.

Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.

If I could steal someone's dream myself, I'd have to go for one of Orson Welles.

I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.

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.

As soon as television became the only secondary way in which films were watched, films had to adhere to a pretty linear system, whereby you can drift off for ten minutes and go and answer the phone and not really lose your place.

I think there's a vague sense out there that movies are becoming more and more unreal. I know I've felt it.