You should never settle for what you think is just good. You should drive the editors and writers and everybody nuts until it's great. And if you don't go for great, you won't end up with good. You've got to go beyond your wildest dreams because the exigencies of filmmaking are going to smash you into the ordinary.

A movie is a diamond and suddenly someone is seeing this facet or that facet. No matter how good you think you are, there's stuff you're not seeing.

I'm married to an artist. I get a lot of inspiration from art, from the lighting in art, from the compositions in art, from the textures, and all of that. I'm always playing with it.

You should never settle for what you think is just good. You should drive the editors and writers and everybody nuts until it's great. And if you don't go for great, you won't end up with good. You've got to go beyond your wildest dreams because the exigencies of filmmaking are going to smash you into the ordinary.

I like when I use music in film that it isn't just gilding the lily and it isn't telling you how to feel. It's giving you something, some other information that you cannot otherwise get in the scene.

The day you shoot something, everything changes. You still have the same overall vision and approach. You create a world that you're going to be true to or the film tells you what you're going to do. And so, it's like you've got a philosophy of what you're doing. You try and have that changing texturally over the movie.

Sometimes I use words to throw you from once scene to the other, and sometimes I use words to pull you from one scene to the other. You might not be aware of it, but I may have overlapping words one way or the other. So, I'm actually using words.