A real explosion is not only much more fun to shoot, it also helps the actors and creates an energy on set and ultimately in the scene.

The muscle memory of filtering away all the wrong versions of what you're doing improves the more time you're on a film set. I feel like my problem-solving algorithm got kicked up a notch.

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.

I'm probably more character-driven than plot-driven. It's rare for me to attach myself to an idea for a story.

That's why my attitude, even on my larger-scale movies, is to make them cheap. The less these things cost, the better for everybody.

There is sadness of when you're watching someone enjoy something that you think is substandard. The ineffable sadness when someone is happy and something is not as good as it should be.

I'm still very affected and moved by their music - maybe in a way that's different from someone who grew up around it.