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.

If you're not flying people around on wires, and you're only allowing them to do things that people can really do, it can't go on for very long, because eventually somebody gets the drop on the other person and then it's over.

You’re supposed to expand your mind to fit the art, you’re not supposed to chop the art down to fit your mind.

I always have a plan, but then I'm always ready to throw the plan out, and everyone's ready to make a radical left turn if necessary.

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.

A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.

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