It's become absolutely horrible the way the people with the money decide they can fart in the kitchen.

There's a difference between failures and things that are bad.

Some filmmakers, you know, have their style and then they kind of go looking for the movie. I'm not like that. I don't have one style that I want to take from movie to movie.

We have to have a version of our own story that we keep telling ourselves that allows us to get up in the morning. This version of yourself is what you sell to yourself. I think it necessarily includes ... not looking at certain things. Everybody's got some blind spot.

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.

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.

Every time you make something that somebody likes, your impulse is to remind them that if you hadn't made some of these other things that they hated, you wouldn't have been able to make the thing that they liked.