Nobody trusts anyone, or why did they put tilt on a pinball machine.

You see, I don't believe in that grabbin' and grabbin' and stuffin yourself and not givin' anythin' or puttin' it back.

When you're racing, it's life. Anything that happens before or after is just waiting.

I have difficulty putting words in peoples' mouths. The best dialogue is very, very thin dialogue; you let people improvise and then basically you record what they've improvised and then write it down.

The camera movement should be like a cat jumping onto a table - with just enough amount of effort and that's it. That's enough.

There is no right or wrong angle for something. The idea of putting the camera in an unfamiliar position is simply to do with film language. Sometimes it is spectacular, sometimes it is ugly, sometimes it is uninteresting.

As far as art and filmmaking is concerned, I don't see there's any separation; it's just one continuous thing.