If it's a modern-day story dealing with certain ethnic groups, I think I could open up certain scenes for improvisation, while staying within the structure of the script.

There is something particularly unique about the films of Hong Sang-soo...it's got to do with his masterful sense of storytelling... as the critic Manny Farber once said of Hitchcock's ROPE Hong Sang-soo's pictures unpeel like an orange.

The real truth, I thought, in terms of what faith is and what Christianity is.

And so you try your best. Sometimes you go in with one thing, with one desire and come out with something else. In the case of 'The Aviator' it was to create a Hollywood spectacle, but by about the second or third week of shooting you just want to literally survive it. Because don't forget, I also go through the editing process too, and when the film is released I have to talk about it. So, I take all of that very seriously.

I think when you're young and have that first burst of energy and make five or six pictures in a row that tell the stories of all the things in life you want to say... well, maybe those are the films that should have won me the Oscar.

When I'm making a film, I'm the audience.

I don't agree with everything he did in his life, but we're dealing with this Howard Hughes, at this point. And also ultimately the flaw in Howard Hughes, the curse so to speak.