I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

Too many people believe in that [Alfred] Hitchcock thing that he only shot exactly the shots he needed for the dialogue he needed and I think that's bullshit, even if that was true for that singular filmmaker.

When I think of 'Nightmare on Elm Street,' there was a warmth to those teenagers that I related to. They were not aware that they were in the middle of a horror film, and I really loved those characters and I empathized with them.

Really, it's the director's job to disappear and allow the movie to just feel.

The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.

I'm really attracted to authors who take on really tricky material with a very open mind and take a subject matter that you wouldn't think would be a comedy.

All the airports kind of feel and look the same now. Some are more beautiful, some are less beautiful, but for the most part you're going to find a Starbucks in every airport. You're going to get your coffee and the 'USA Today' or 'New York Times' in every airport.