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.

Remarkably, there's no green screen in 'Leaves of Grass' movie. There is motion control. Technically, there were all sorts of challenges, but really the soul of it is Edward Norton talent. You write these characters when you write a movie, and all you can hope for or depend on is that your actors will elevate the material.

Fame is very corrosive and you have to guard very strictly against it.

In drama, I think, the audience is a willing participant. It's suspending a certain kind of disbelief to try to get something out of a story.

All people are paradoxical. No one is easily reducible, so I like characters who have contradictory impulses or shades of ambiguity. It's fun, and it's fun because it's hard.

You can do things in twin scenes now you couldn't before. You can implement actual moving cameras.

For me there's always a line or two in a script, when you hit it you almost decide to do the whole movie off a line or two. You almost do it for the fun of getting to say a line or two like that. I don't have any specific plans, you know. I mean, if Seth Rogen calls with a great buddy pic, I'll be there.