My first three movies, I didn't start editing until we were finished shooting. That's unthinkable to me now.

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 don't have any kind of ideology that precludes me from moving in one direction or another. I just want creative autonomy and I want at least an opportunity that it's going to be seen.

Well, it's 15 years since Sex, Lies And Videotape, and if you hang around long enough you're having the same arguments with just a new set of people every few years and it gets boring.

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

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 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.