I just produced Criminal, this remake of Nine Queens, and one of the things that appealed to me about Nine Queens is that it was a performance piece, and that's the most fun.

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.

I've found through experience that I'm only good when I'm writing something that, in essence, only I could write. The times I've written for hire, for other people, I don't think I've done very well.

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.

We [people] are a species that's wired to tell stories. We need stories. It's how we make sense of things. It's how we learn.

What are the stories you want people to tell about you?

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