I think the most important thing is to, without belligerence, stand up for what want. Argue compellingly if someone tries to change your script. Yeah, legally they can if they want to. But rather than give up, as some of the writers do, and just wail about how your script got rewritten, it's much more difficult - but well within the realm of possibility - to argue very sincerely, calmly, and reasonably from your point of view, such that the director or the producer might decide, "All right, let's do it that way."

I have these guilty pleasures, these failed films that don't work at all, but I'll watch them if they're on. Like 'The Game'.

Probably my favorite piece of music, as an album taken as a whole, is Bruce Springsteen's 'Greetings from Asbury Park.' I just think it's incredibly pure. It's a sound that sort of broke new ground, and I think it paved the way for a hundred people that sound very similar.

I think it's an obligation to make a movie full, so you have to see it twice to get all the moments.

I've turned down lots and lots of work. Things that could have made me some money.

An action film can have too much action; picture an equaliser on a stereo, with all the knobs pegged at 10. It becomes a cacophony and is, ultimately, quite boring.

When you only have $15 million, you have to talk about something interesting. You can't just cut to a helicopter exploding.