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 don't consider myself to be particularly gifted in the way that other filmmakers are gifted.

The great thing about the business is how Darwinian it is. We have to swim or die - if you are found wanting over a period of time, you've either got to change what you're doing or find something else to do.

Truth and facts have to trump partisanship. There has to be something that's true regardless of what your angle is on it.

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.

I've begun to believe more and more that movies are all about transitions, that the key to making good movies is to pay attention to the transition between scenes. And not just how you get from one scene to the next, but where you leave a scene and where you come into a new scene. Those are some of the most important decisions that you make. It can be the difference between a movie that works and a movie that doesn't.

People like Chris Nolan are shooting isolated sequences in IMAX. Those cameras are the size of a Volkswagen.