That survival instinct, that will to live, that need to get back to life again, is more powerful than any consideration of taste, decency, politeness, manners, civility. Anything. It's such a powerful force.

Everybody knows Aaron Sorkin's scripts. There's a huge amount of lines. There's a huge amount of interchange. You gotta do a lot of learning to be able to get it up to pace.

Good storytelling for me is not so much technical expertise, which I know is applauded often; it's actually freshness of approach. It does mean you sometimes stumble and fall and make a horrible mess of things in seeking that freshness, but you should always keep trying to do that.

I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes.

You can't tell someone they are wrong about their own life.

If I am acting out in any particular way that is harmful to myself - without a shadow of doubt, there is a feeling suppressed under wanting that second candy bar. Often, it is that little voice I haven't paid attention to. It's generally not the adult voice. If I take a moment to address that and figure out what that is, the desire for the candy bar seems to dissipate.

I don't want people to sit there and objectively watch the film. I want them to experience it as something that's under their skin, so you try to make the films really tactile.