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 like to make all kinds of movies. I'd do 'Ocean's Thirteen' with the right script.

I think that it's fear. The musicians themselves don't seem to know enough about why they're in the positions they're in, so they're afraid to lose those positions. If you're 22 years old and you can't believe you're even in the position to have a career making music, the first thing you're going to think is: Maintain. Don't lose it. And that's precisely what causes you to lose everything.

It takes one asshole to ruin the whole thing. That's it. One. The problem with the world is one asshole comes up with a really bad idea and now we're all taking our shoes off at the airport.

Warner Bros. has talked about going out with low-cost DVDs simultaneously in China because piracy is so huge there. It will be a while before bigger movies go out in all formats; in five years, everything will.

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.

It's a weird thing to say, but it would appear to me axiomatic that if you understood fully what I was doing and appreciated it, you would like it.