I still haven't quite caught on to the idea of writing without dialogue. I like writing dialogue, and there's nothing wrong with dialogue in movies.

I trust my judgment when I think it's boring, dull, tepid and not interesting. That's important to listen to. And the same on the set. That's a little easier because you can see it in front of you and you can just see how great they are and you know you have something wonderful when they do something wonderful.

There's a few people who I've accumulated over the years who I really trust to show a first cut to and to be helpful rather than unhelpful.

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.

I've reached a new level of closeness with a new friend when I can make a joke at their expense. That's one of the great joys of life for me.

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.