I have nothing against diamonds, or rubies or emeralds or sapphires. I do object when their acquisition is complicit in the debasement of children or the destruction of a country.

There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.

And how deeply do I let business considerations affect [screenwriting] choices that might otherwise be more or less esthetic? . . . Do I choose the upbeat rather than the downer ending because I know it will score better at the preview? Can the idea be sold in a single sentence? Can it compete with space aliens and tornadoes and missions impossible?

There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other.

However much I may like to talk about or be interested in a more philosophical or moral agenda, [film] is, ultimately, about narrative. And it's about telling stories that are engaging and dramatic.

You do these movies, you give it out to the world and you really have no idea how people are going to react to you.

To make a great movie is such a combination of different things that need to come into play to actually make a memorable film and not have a film to fall by the wayside, to have something live on during the years, and one of those elements is the commitment the actors have to their performance.