I want stuff to play as wide as possible. I want to be able to see... if I could play the whole thing in a master and it could be compelling enough, that'd be great. Then it simplifies my day, it simplifies life for the actors when you could just focus on that. But by the same token I don't want to be forced into coverage. So I want it to be as good from every angle and I need to get as many of the kind of shadings that I want from every angle.

You can do something that walks a line, and invariably, whatever that line is, it will be crossed by people who don't know any better and want to ape the success.

A movie is made for an audience and a film is made for both the audience and the film-makers.

I was always interested in films that scar.

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.

Everything seems really simple on paper until you take a camera out of the box.

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.