My films really have to be a part of a whole body of work that says something to me.

An interviewer once asked me to discuss my collaboration with Elmer Bernstein, and precisely why I chose to work with him. My first thought was: How could I not work with Elmer, when I had the chance? Simply put, he's the best there is-the very best.

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.

Zombies, what are you going to do with them? Just keep chopping them up, shooting at them, shooting at them.

I just - I kind of see it that way. I find the higher angles down. I do - look, you can go back to the staircase shots in "Third Man" or the staircase in "La Dolce Vita." So I just find that visual construction in a frame.

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.

Well, I think in my own work the subject matter usually deals with characters I know, aspects of myself, friends of mine - that sort of thing.