That's why my attitude, even on my larger-scale movies, is to make them cheap. The less these things cost, the better for everybody.

I think that music is a very difficult art form in which to be avant-garde. When we sit down to listen to a piece of music, I think our implicit hope is that we're going to find it beautiful, or at least emotional, on some level.

To me the director’s job is to leave it in better shape than you found it, literally.

I want to form a political party that's based entirely on what music people listen to. To me, it's a much better barometer of what they think and feel than their political stance.

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.

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

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.