I've very rarely worked with somebody that had such a clear idea of what Alejandro Amenábar wanted to do and what he wanted to achieve. The guy is incredibly prepared. He was clearly making a movie for himself and his own dream. I just tried to be a part of that dream. It's a rare opportunity.

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.

When you make a movie with Alejandro Amenábar, he very quickly... it was very clear you're kind of operating in his dream universe.

I love really exploring... you know, a cop drama for example is a great way to explore class in this country and explore, you know, really, identity in the country and who we are in a way that is extremely exciting, but it's also real, you know, it's also real people and real drama. The same with the military. I mean, a good science fiction story is also great.

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.

I did this movie, Predestination, and it's one of my favorite movies I've ever made, because sci-fi really lets you talk about ideas in a way that's not pretentious.

Happiness is in the doing not in getting what you want.