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.

We live in a silly time, and people go to the movies to see something that they haven't seen before, and you have to promise to show them that. In a horrible way, you have to promise them a special effect.

It's a bad day when you don't get the work done that you need to get done or you don't get it done to the satisfaction.

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.

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.

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

People go to the movies to see things they haven’t seen before. Call me a radical.