The story [of Allied] stayed with me, like a stray dog outside the office, waiting.

There [in Allied] was depicting London in the war, as well, and doing that in a way where you see something that you don't normally see, which is how hedonistic it was. In reality, that's what was going on. But, all of it worked.

I think people are drawn to characters that break the rules. I think there is something about a good person doing bad things for what they consider to be a good reason. Then the battle is on to almost prove to the audience that it's justified. How far can you go with that? How far can that character go before people won't accept it? Trying to walk to edge of that line is a challenge.

I must have been about 11 when I read the book Bury My Heart at Wounded Knee, which I read, over and over again.

It's great that the story [Allied] is set in the '40s because the '40s feel to it is completely appropriate.

Sometimes if you're a director, you want to believe that you're great and capable at all aspects - the technical side, the lights, everything - but I'm not.

A creative person can suddenly realize it's not 90 minutes. They haven't got to do three acts, they haven't got to do the arc, but they can do other things. I think just as novellas turned into novels, I think that television series can begin to have that depth.