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

The art model of problem solving is incredibly efficient because ideology has no place there.There's only the thing and what the thing needs to be.

I think about art a lot only in two contexts. One is narrative... The other thing that I'm interested in, which is tangential, but not unrelated... All art to me is about problem solving.

If you're a painter and you want people to know who you are and recognize your work, you've got to build some long-term value.

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.

Another thing that really excites me: I'd like to do multiple versions of the same film.

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