I don't see myself as having made the transition. I aim to be more transient than transitional. Life is constantly changing, now at a rate faster than ever, so being in a transitory state is the best way to keep pace.

The key thing is that you start every film from sort of a blank page, almost like you discover it like a child discovers a new world.

When talking with a set designer the dialogue is more centered on locations, interior design, what I like and what doesn't work. There is a certain taste I'm drawn to and feel inspired by, and finding that inspiration is what keeps the conversation moving forward.

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

All movements begin and end, and all have been inspired by others that have come before them. They evolve and then deconstruct again. There are very few designers whose aesthetic I'm drawn to on a personal level. However, that's different from the ways in which I might dress the characters in my films.

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.