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.

Particularly, the actors, to have analyzed the script in great detail from the point of view of their specific character. So that they have a handle on exactly where the character is in the chronology of things. In that sense the actors become your best check on the logic of the piece, and the way in which it all fits together. They become essential collaborators. The main thing is you have to work with very smart actors.

My approach with actors is to try and give them whatever it is they need from me. Direction to me is about listening and responding and realizing how much they need to know from me and how much they have figured out for themselves, really.

Heist movies tend to be a bit superficial, glamorous, and fun. They don't tend to be emotionally engaging.

What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.

Film is the best way to capture an image and project that image. It just is, hands down.

I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.