Your take on things is what is either going to make you somebody people talk about or no.

The best set was probably 'Bloody Sunday.' We had no money for extras and gambled on months of outreach to persuade the people of Derry to turn out and march for us on one single afternoon. And they did. In their tens of thousands. Seeing them march, their patience and their dignity and their commitment, I knew the movie would have a quality of truth.

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

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.

Everybody, including me, has to submit to what it needs to be. The thing is at the top of the pyramid, the best version of the thing; we all have to serve that. You forget that at your own risk. And I think movies are too long, in general.

All human interaction, you can break it down to incentives. All relationships, at some level, are transactional. They're fascinated with incentives.

My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen.