I accept all awards. I like them.

I grew up in the Lower East Side, an Italian American - more Sicilian, actually.

I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.

I love the look of planes and the idea of how a plane flies. The more I learn about it the better I feel; while I still may not like it, I have a sense of what is really happening.

I don't think there's a subject matter that can't absorb 3-D; that can't tolerate the addition of depth as a storytelling technique.

Always get to the set or the location early, so that you can be all alone and draw your inspiration for the blocking and the setups in private and quiet. In one sense, it's about protecting yourself; in another sense, it's about always being open to surprise, even from the set, because there may be some detail that you hadn't noticed. I think this is crucial. There are many pictures that seem good in so many ways except one: They lack a sense of surprise, they've never left the page.

Very often I've known people who wouldn't say a word to each other, but they'd go to see movies together and experience life that way.