I like to know where I am. I don't like the kind of cutting where you don't know where you are.

I have no shame in making music that maybe, if you listen to it long enough, you'll realize you've heard this or that part of it before. I'm still very excited by an amazingly written song, so that's really the thing that I work on when I make records with people.

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

My experience over the years with working with people who are not actors or not trained actors is that you have to get to know them well enough to see what they have that's translatable onto the screen. So you're constantly calibrating to play to their strengths. And the key is to never ask them to do things that are beyond their abilities or are really far away from who they are at their core.

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.

Whenever you experiment with something, it's very easy to take the emotion out of it. And going back and forth between wanting to be respected artistically and wanting to move people is its own challenge.

I can make a movie about Lee Harvey Oswald and make you feel what he feels and make you understand why he believes what he believes. That doesn't mean I think you should go out and shoot JFK.