I had just come off doing a lot of commercials when I did Go, so a part of the fast pace and efficiency comes from the discipline I had to learn from telling stories in 25-second increments, and that type of discipline is insane.

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.

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.

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.

To be a lone filmmaker thousands of miles from home with nobody believing in me, that seems romantic.

That's why 'The Bourne Identity' has that sort of shaky style, because for the most part, Matt Damon and I were sneaking around Paris and shooting where we didn't have permits.

In the real world, if you're in a car chase, you're going to hit a million things and your car is going to end up a total wreck by the end.