I think Pans Labyrinth is genius.

You don't paint pictures to put them in your attic. You want people to look at them.

There's a way of thinking that comes with being an editor that is incredibly useful on the set. It's not just a vocabulary thing or a right-to-left thing or script supervisor stuff. It's a way of thinking about the film and the shots and the way they fit together, what you need and what you don't need, and what you can get away with if you have to.

There's so little difference between television and features as far as you make the film. I mean, you have less money and it's a little quicker, but the concept is all on television.

I don't believe that you can judge the worth of a movie in the atmosphere in which it comes out the first time. There's just so many reasons why some pictures don't catch on.

I mean, movies are all geared to be basically under 25, and they're all tentpoles, explosions, excitement and all that - they take advantage of the big screen, which is great.

I grew up in New Jersey and my father was a golf pro, so I was groomed for sports, but I wasn't very good, so my interests lay elsewhere.