The movie I end up with is the movie I aspired to make.

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?"

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.

TV has no choice, but to rely on character, and everybody knows that. I love working in it. It's such a big canvas where, if you're successful, you go on for years.

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.

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.

From a production point of view, I still have one foot firmly planted in the independent film world, and much of the shooting on 'Jumper' was done 'Swingers'-style because that was the only way we could afford to do it.