The key is, how do you feel with the one asshole? They cannot be talked to. That's why they are assholes.

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

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.

The traditional models for success are just also disappearing.

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.

I think the feeling that we're going to work together again usually starts to come up before the first project's even done. The Black Keys and I have already talked about starting on something new.

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