I'm a great believer in relativity when making movies. Relativity, in my mind, meaning "Light to dark, big to small, good to bad." You visually embrace these things to enhance transitions and instantly paint environments and moods.

If you take a sophisticated idea, reduce it to the simplest possible terms so that it’s accessible to everybody, and don’t get simple mixed up with simplistic, it’s how you mount and present something that makes it engaging.

Grips and electricians have done more to help me shoot good movies than any other craft.

I don't believe in doing thousands of cuts, then giving it to the editor to make the movie. 'Dump-truck directing' is my reference to that style of moviemaking. You have to know how to cut before you can shoot well. The lack of definition in movies today is appalling. Very few people know how to mount a narrative anymore. If a scene works in one cut, you don't need 10. Or it might need 10. Let's not make it 20.

There are a lot of cameramen but not so many photographers. And a lot of cameramen attack from a technical approach without much imagination. They look, but they don't see.

A huge problem in movies or with people who work on movies is that two people can look at the same thing but they don't necessarily see the same thing.

I hate when somebody says, "This may not work." You'll never get anywhere with that. I've pushed a lot of people out of my way - I don't mean physically - over them being afraid something isn't going to work.