Every time my cameras go out on a movie, we learn something new and then we take what we learn and we put it into the next generation of the cameras so we're constantly improving. It's kind of like building a race car, racing it, then running back to the shop and working on the engine some more and tinkering with it to improve it.

I love it when I have a nightmare to me that means I got my money's worth out of that eight hours

I've tried not to get sucked into the Hollywood hierarchy system. Personally, I don't like it when people are deferential to me because I'm an established filmmaker. It's a blue-collar sensibility.

I do an awful lot of scuba diving. I love to be on the ocean, under the ocean. I live next to the ocean.

I like the evening in India, the one magic moment when the sun balances on the rim of the world, and the hush descends, and ten thousand civil servants drift homeward on a river of bicycles, brooding on the Lord Krishna and the cost of living.

I'm a curious guy. I can't turn away from an investigative story, when it comes to the forensic analysis. I've done 33 dives, to the titanic wreck site. I've spent over 50 hours piloting robotic vehicles at that wreck trying to piece together what happened during the disaster. How the ship broke up, comparing the historical record with the forensic record. Documentaries are kind of my new life. I love documentary filmmaking.

Inspiration can hit you in the head at any time in any context. It could happen in a conversation. Talking to someone at a party, you can get an idea. But you've got to remember those inspirations.