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'm obviously really opinionated, but as a producer, you don't necessarily want the person you're working with to try to impress you - you want them to just be themselves.

Traffic is about drugs. As detailed a portrait as I can muster about what is happening in the drug world, from top to bottom, from policy to how things move on the street.

I suppose I could try to be some avant-garde artist if I wanted to, but that doesn't interest me as much.

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 watch] Fincher, Spielberg, Cameron, McTiernan. Just people who are good at staging action. I like to know where I am. I don't like the kind of cutting where you don't know where you are.

If you're sitting around thinking what other people think about your work, you'll just become paralysed.