I just find it annoying that in these sequences [of the fight scenes], traditionally, there's music trying to pump you up. I don't like that, personally, as an audience member. This just reflects my taste.

Sometimes I might feel like [a movie] is kind of a weird idea and if I'm going to get enough money to execute it properly I've got to get somebody in it that is going to justify the expense.

In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.

There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

I know why we can't have a frank discussion with our policymakers - if you're in the government or in law enforcement you cannot acknowledge that drugs are anything but inherently evil and morally wrong.

A lot of people go to the movies wanting the movie to be about feelings, and it's really not about that. Or rather it's about feelings in the abstract.

Surprisingly, I don't throw away that much. I don't move forward with a lot of things unless they're going somewhere. You also have to remember that when you're working with other artists, you have to be really careful about how you deal with that stuff.