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.

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.

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 thought it would be easy to cast a Bond girl, because there are so many beautiful women in this world. But not many of them can act. Their acting needed to be really strong and three-dimensional. Historically, the role of women in the world has changed. You can't have someone in a Bond film just as a sex object.

I think directing is part play, part work, not just all work, because I think you always have to play. I think that's ultimately why I got into making movies, is because I love to play.

On Stranger Than Fiction, the script was so good that I stuck to every line because it was just such brilliant writing from Zach Helm that I felt like I really just want to shoot the page.

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.