I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.

Once I had a potentially heart attack-inducing eight double espressos in one day. I think my assistant secretly swaps my coffees for decaf as she doesn't want me to die of caffeine overdose.

But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

That's why my attitude, even on my larger-scale movies, is to make them cheap. The less these things cost, the better for everybody.

Lying is like alcoholism. You are always recovering.

I find myself in situations a lot where I have to say to someone, "This can be better," and it's hard to say that.

If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.