Once I'm in the editing room, forget about what I intended to shoot. I take a cold, hard look at what I really did shoot, and then I edit that because, if you try to edit what you intended and you missed somewhere, that will show up.

You can find truly original pieces of writing, but they're original because you go, "Who would have even have thought of that?," or, "Why would anyone ever want to go see that?"

For big Hollywood movies, I'm on the more character-driven side of the equation. So, TV is a natural place for me to be because you've got no choice, but to be character-driven.

My own personal process with movies is to develop the characters with the actors and, when I've done that properly, you can't imagine anyone else, but that actor, playing that part.

I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.

I make movies for me and posterity. I'm more scared of history than I am of the studio.

Casting is everything. I put a huge amount of work into casting, and consistently across my career, I am most proud of my bold choices I made in casting.