The delicate balance of mentoring someone is not creating them in your own image, but giving them the opportunity to create themselves.

I really trust the authenticity of real people and my job is to get them to be themselves in front of the camera. Often what happens is, you'll get a newcomer in front of the camera and they'll freeze up or they imitate actors or other performances that they've admired and so they stop becoming themselves. And so my job as the director is just to always return them to what I first saw in them, which was simply an uncensored human being.

I committed to directing 'Catch Me If You Can' not because of the divorce component, but principally because Frank Abagnale did things that were the most astonishing scams I had ever heard.

I think one of the worst things that happened to me was, you know, my voluntary fallout with my father. And then the greatest thing that happened to me was when I saw the light, and realized I needed to love him in a way that he could love me back.

I can't describe it, what I'm feeling and what I'm thinking. This means something. This is important.

You know, I don't really do that much looking inside me when I'm working on a project. Whatever I am becomes what that film is. But I change; you change.

It's funny, you make friends and you lose friends when you're making a movie.