I think every director has a different methodology.

I don't consider myself a shy person necessarily, but there's something about getting under the skin of a character and allowing you an abandon or a sense of courage that you would never have in your own life.

I'd probably have been wealthier if I had stayed with law, but pretty miserable doing it.

I try not to think retrospectively. It's important, as an artist, to look forward, always. I do try to take work that involves some challenge. If you approach a piece of work and you're going, "Yeah, yeah, I can do that," then that's kind of a red flag.

The boring people are the worst. I think it's obvious, I think people have always had phobias about flying for years even before 9/11 and everything like that. It just taps into that and it taps into who you are going to sit next to on the plane.

I'm kind of loath to pick one project over another or whatever. You go into every film sort of thinking it'll be your best work, and that's necessary. I think in this business, you really have to be forward-looking the whole time. I think nostalgia is sort of the death knell for any artist.

You take the job very seriously and between action and cut, that's where your focus should be. And then there's a lot of levity in between and a lot of good fun.