I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

You do a lot of press, but getting to talk and discuss movies with your peers is the best and most fulfilling part.

I realized that a lot of the great directors that I admire from [Ingmar] Bergman to [Fredrico] Fellini re always shooting, then going into the editing room, and shooting again.

I always think it's interesting to switch genres, because if I read a script and I know exactly how to manifest a story, I don't really want to do it anymore, because I've already done it in my head. It becomes less interesting. If I read something that's challenging, I get really passionate and usually fall in love with it, because I feel I need to do it. I need to tell the story; I need to find a way to make it happen.

Some of the greatest directors never got an Oscar, like Kubrick, or Hitchcock. For me, personally, I think the body of work is more important than winning an Oscar.

I always wanted to do an action movie, not particularly Bond.

The goal is to align with your core group of collaborators, who understand your vision and aesthetics. I usually show them visual material of what I have in mind, as well as a color spectrum of mood boards.