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.

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.

I guess I just look at talent as a very subjective thing. I mean, if you never tried playing an oboe, how do you know you're not the most talented oboe player ever? The point is that if you don't love it, then it doesn't matter.

I find myself in situations a lot where I have to say to someone, "This can be better," and it's hard to say that.

I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.

Once I had a potentially heart attack-inducing eight double espressos in one day. I think my assistant secretly swaps my coffees for decaf as she doesn't want me to die of caffeine overdose.

All human interaction, you can break it down to incentives. All relationships, at some level, are transactional. They're fascinated with incentives.