Somebody can be the captain of the ship, which allows you to make big mistakes.

I just love the fact that that's the way life is. When something horrible happens, you do find yourself laughing in weird places in the midst of grief and crying in the supermarket when you see a cereal that somebody used to eat. There's just no way of guarding yourself one way or another. Everybody grieves differently, and there's no right or wrong way.

Before our kids start coming home from Iraq in body bags and women and children start dying in Baghdad, I need to know, what did Iraq do to us?

When Alan Rickman, a dear friend of mine, played villains, he always made it complicated. He didn't redeem what they did, but he made you feel that it was hard for them to be so horrible.

I think where you get into trouble - for instance the mixing of sex and violence - is when you're telling an audience that this horrible thing is enjoyable. The suffering just gets out of hand too much. It becomes pornographic.

He has a very strong vision of what he wants.

I think you have to ask yourself, what is the point of the script? What is the script selling? Because all scripts are political, every story is political. It either challenges or reinforces some schism or stereotype. So what is the project going to say at the end of the day? What does it tell you about the world, or what does it challenge in terms of your world?