The thing is, that great actors are everywhere. They're everywhere. They're doing good parts on television. They're doing television commercials. They're doing local theater. There are so few opportunities.

I thought that the behavioral and some of the profiling stuff was interesting. The thing that I was most interested in, and the thing that we were really adament about, was let's get these guys who were there on tape, or in some kind of way, telling what happened. No one has really talked to them all.

You can’t take everything on. That’s why when people ask how does this film fit into my oeuvre. I say 'I don’t know. I don’t think in those terms’. If I did, I might become incapacitated by fear . . . How do you eat a whale? One bite at a time. How do you shoot a 150-day movie? You shoot it one day at a time.

I have great appreciation for people who do anything well. I think that it's very difficult to do what you do well.

Filmmaking isn’t if you can just strap on a camera onto an actor, and steadicam, and point it at their face, and follow them through the movie, that is not what moviemaking is, that is not what it’s about. It’s not just about getting a performance. It’s also about the psychology of the cinematic moment, and the psychology of the presentation of that, of that window.

If you read the good reviews you gotta read the bad reviews. I kind of think of it as like being a quarterback: you get way too much blame when it's bad and way too much credit when it's good.

I don't think that digital technology will ever take away the humanity of storytelling, because storytelling is entirely, in and of itself, a wholly human concern.