The elegance of staying with a moment, without needing to stop and change all the lighting, made [the alternative] seem lazy and indulgent.

I don't tend to say it's time for one of this or that genre. Things flow to you in a strange way, and why you bump into a certain kind of thing in one moment is...it's hard to explain.

When I look at the directors that I really love, who really develop their films over time, they're almost always the ones who go back again and again and again at the same investigations. I think that when somebody has a theme they go after, it's fun to service that. It's like, "I know you now. I know what you go at." It helps you locate yourself a little bit quicker in their world.

Life, like poker has an element of risk. It shouldn't be avoided. It should be faced.

I've always thought of acting as more of an exercise in empathy, which is not to be confused with sympathy. You're trying to get inside a certain emotional reality or motivational reality and try to figure out what that's about so you can represent it.

Basically, I think 21st century conservation is moving toward preserving ecosystems by dealing with the needs of people.

There's a lot of romanticisation of the intuitive actor and method acting and all kinds of notions about getting inside a character and coming out from there.