There's lots of things that can be solved with cash.

For us, destiny always feels... if you obey, it's almost a passive thing.

I find my own pain and others' difficult to tolerate, so I always want to try to shift things so they'll be better. But in doing that, if I am coming from a place of ego, I often cause harm. So it's a struggle for me to set my ego outside and find a softer and more compassionate way of approaching things.

Directing is a mixture of compromise and perfectionism. When you lose the judgment of which is more important at any particular moment, you're time is over. They find you out and send you packing.

I always felt it is not good if you feel like you would know how to do something. I've made mistakes of telling people: I know how to do this. And it should feel dangerous. That is the only way to stay alert, to keep the adrenaline running.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes. I love taking a bunch of characters and it usually is a bunch of characters, and you throw something at them that's usually extreme, like a bag of money, or you send them out to explode a nuclear device on the surface of the sun. And those extremes are wonderful for drama.

We want to see drama told in a cathartic way, with power, with emotion where you empathize and then you're frightened. All those feelings charge up in you and you feel for the story.