You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.

I couldn't sleep one night and I was sitting in my office and I realized that I was an independent filmmaker.

I wasn't a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.

As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.

These wrestlers aren't organized. They have no union, no pension and no insurance. You meet wrestler after wrestler who sold out Madison Square Garden ten years ago, basically running on fumes today. There's a lot of drama there.

I think that there's an infinite amount of places where you can stick a camera. There's an infinite amount of choices of what could be going on. There's an infinite amount of places for so many things, so you have to figure out how to do your job.

I've been joking that if Madonna taught us anything, you've got to reinvent yourself. I think it's important as a filmmaker, as any person working in the arts, that you've got to try new stuff and challenge yourself and take chances. I've tried to take a chance with every film I've done - I've never done it the easy way, and I think that's because that's what excites me, is making as big a mountain as I can in front of me, and just trying to mount it.