I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.

Usually I'm thinking about the palette. I'm thinking about the color for the most part, then I'll start thinking about composition and movement.

[I watch] Fincher, Spielberg, Cameron, McTiernan. Just people who are good at staging action. I like to know where I am. I don't like the kind of cutting where you don't know where you are.

I think I'm good at amplifying an actor's strengths, and minimizing their weaknesses. And they all have strengths and weaknesses.

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

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.

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.