I've always been a relaxed person on set, but I think the main thing is I think about it from an editing point of view way more than I did before.

I have to keep reminding myself that I was hired for a reason and one of those reasons is because of the stories I tell and the films I've made previously.

I loved him [Ke Huy Quan as Short-Round in Indiana Jones and the Temple of Doom] - everyone loved him when I saw the film. Now I'm a grown-up and I watch it I'm not so sure - he's so loud. He yells for the entire film.

Everything changes once you start trying to market the film. Part of you feels like everything is slipping away from you. For me, I don't want people going to the theater thinking it's going to be a laugh-a-minute comedy, like a Will Ferrell film or something. Because it's not.

If you're tracking with a character that's running off a thing and diving off, I would leave the camera there and not follow them down, because cameras don't do that. The audience understands that. I'll definitely bring that understanding of keeping things a bit more grounded.

I never wanted to be a filmmaker. I still, sometimes, think I got sidetracked by this, like this is a tangent. My main thing was painting; I was just going to do that.

There were definitely Nazis who saw the error of their ways.