Some actors really like to do only a few, some like Casey [Affleck] will do as many takes as there is electrical power. At some point, you'll say, "Listen, I think it's really good." And he'll say, "You sure? You sure? There's not some other way we should try it?"

Little kids grow up discovering the world that's shown to them and then when you become a teenager, it kind of shrinks a little bit. I think when you get past that point, one of the important things is that you see there is more to the world than yourself.

When you have people like Casey [Affleck] and Michelle Williams and they want to do more takes you don't say, "Sorry, that's it." And I also don't like to say, "It's fine, it's great." Unless it's clearly there.

I think the more dangerous and dire the political circumstances seem, the more you attach value to anything that shows you why a human being is a human being or human experience or view of the world in that way.

I'm always struck when I go somewhere I've never been before, especially if it's in my home town, by just how different the atmosphere can be, and how disorienting it can be - especially if there's any kind of trouble.

Filmmaking, like any other art, is a very profound means of human communication; beyond the professional pleasure of succeeding or the pain of failing, you do want your film to be seen, to communicate itself to other people.

I don't think fast enough on my feet in terms of the writing to change the script too much when I'm shooting it. I like to have it set and done and know that I feel good about it and I might add a few lines here and there while we're shooting, if I think of a new joke, I might toss it in, but for the most part, I try to stick to the written script and have all the latitude exist within that.