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.

It's no secret that my process is a little bit loose and can be a little bit infuriating to a studio if they don't know what they're signing up for.

If you do something that's really original, you discover why everybody else does it the other way, usually. There's a reason cliches exist, 'cause they work.

If I'm not in love with the script, there's nothing. It doesn't matter what you give me. It has to start with the script.

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.

What I really found was that the one similarity between Covert Affairs and Fair Game is a deep love and admiration and fascination with the home life of a spy.

I live in New York City, and I'm making huge action movies. The people that make huge action movies live in L.A., and they're surrounded by other people who make huge action movies. I'm surrounded by people making documentaries!