I like my song-sequences in my movies, but one of the things I like about them, is I get in and I get out.

It's a standard staple in Japanese cinema to cut somebody's arm off and have red water hoses for veins, spraying blood everywhere.

When I'm writing in my bedroom, in a bar, at my kitchen table or wherever, I'm conjuring it all up on the page. That's all well and good, but it is going to be a limited perspective at that point and time. Occasionally, what I write might read really well initially, but then you change your mind while hunting for locations when you discover settings which offer even better opportunities for drama or dramatic staging.

I'm not writing novels, the screenplays are my novels, so I'm gonna write it the best that I can. If the movie never gets made, it'd almost be okay because I did it. It's there on the page.

You don't have to know how to make a movie. If you truly love cinema with all your heart and with enough passion, you can't help but make a good movie.

If you want to make a movie, make it. Don't wait for a grant, don't wait for the perfect circumstances, just make it.

But the idea of using the Apache resistance, one, it works effective to actually get German soldiers to think of Jews that way. You know, and they're not just any Jews. They're the American Jews. They're Jews with entitlement.