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.

I want to thank anyone who spends part of their day creating...anybody who spends part of their day sharing their experience with us-I think this world would be unlivable without art and I thank you.

When things go right it's hard to figure out why, but when things go wrong it's really easy.

The ought to be a worldwide cultural taskforce that just stops you when you have ideas like combining The Red Desert with an armored car heist movie.

People like Chris Nolan are shooting isolated sequences in IMAX. Those cameras are the size of a Volkswagen.

I've tried to get better about weighing what I think the accessibility of an idea is against the cost of executing it. I've tried to be smarter about that, because if you're not smart about that, you're going to be unemployed. But I'm still mystified about what works for people. And I'm not talking about my movies, I'm talking in general. I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too.

People are sort of numb to watching violence, but sexual activity is still as strong as it ever was in terms of generating response.