I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.

People are conditioned to just you know, like, you know we're like little birdies going to the bird feeder you know, or the little cows going to the salt lick. We just like what we've seen before.

Often you see a famous actor who says they produced something, when all they did was claim to have an idea at a dinner party and make three phone calls.

My process differs... my process for a Richard Linklater film is very different than a process for Training Day.

Have this Chet Baker movie coming out and in that situation, I went down the rabbit hole studying Chet Baker and being obsessed with the period and the music and the relationships and the dynamic, and everything, drug addiction. There was so much I wanted to get at to kind of get at the truth. With Regression, I was certainly in Alejandro's [Amenabar] hands.

It just makes sense to remember gratitude and the place that gratitude should have in your life, and that none of us are owed these wonderful experiences, and we should always make the best of them.

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.