Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, 'My name is on that. I did that. It's OK.' But don't get me wrong, I still get excited by it all. That, I hope, will never disappear.

If we just sit and exist, and understand that, I think it will be helpful in a world that seems like a record that's going faster and faster, we're spinning off the edge of the universe.

Eradicating a religion of kindness is, I think, a terrible thing for the Chinese to attempt.

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.

I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?

There are times when you have to face your enemies, sit down and deal with it.

When I was growing up, I don't remember being told that America was created so that everyone could get rich. I remember being told it was about opportunity and the pursuit of happiness. Not happiness itself, but the pursuit.