I'd really rather that nobody had a gun, and then nobody would have to worry about it. That would be more my theory. In America, there's this knee-jerk response that more walls and more guns make people safer, and I'm entirely suspect of that way of thinking.

Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.

It's always a unique challenge when you're working with somebody where English is their second language.

Right now the only people I can really fall in love with are people who don't really, truly want me around. Now why do I do that?

It was when I was on the set of Dead Poets Society.There was actor,his name was Norman Lloyd. One day he took us all aside and said, "You guys don't even understand what a powerful experience you're having. You don't really understand what a gift this is." We were going, "What does he mean?" It was that really wonderful opportunities aren't to be taken for granted. I often found that it had embedded itself in my memory.

There's this kind of incredibly mistaken idea that because it's so much cheaper to roll the camera than it used to be and it's so much easier to accumulate a ton of footage, that then you can just go shoot a ton of footage and the editor will make sense out of it. But if you don't have something deliberate made, you're not gonna save it in the editing room.

At every turn, when humanity is asked the question, 'Do you want temporary economic gain or long-term environmental loss, which one do you prefer,' we invariably choose the money.