Surprisingly, I don't throw away that much. I don't move forward with a lot of things unless they're going somewhere. You also have to remember that when you're working with other artists, you have to be really careful about how you deal with that stuff.

I'm always a little unnerved when I see a show that's set in the past that implies in any way that things were nicer then.

You can't change who you are, so I think that the only thing you can do is just never talk to people about stuff and then hope that maybe does something.

Making a film that's supposed to be fun to watch is really hard - that's the weird irony of it.

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

If I'm a director and I read a script and I say yeah I really want to do this, I would never walk away because the deal wasn't very good - that I wasn't getting paid very much or that the chances that I would see anything on the back end were remote because of the financial waterfall and the way it's structured. I would never use that as a reason not to do something.

I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.