The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.

A good [film] director is talented, imaginative, and does his homework.

I had never met Woody Allen before Melinda and Melinda. My agent knew the producer of the movie and he suggested that we would work well together and then we did. We had a great time on that film.

I don't think there is any advantage to digital unless it's in a case like Slumdog Millionaire, where you have to get a shot and a big bulky film camera is out of the question.

I shot a lot of commercials and sometimes I enjoy the commercial shooting and sometimes I really hate it, but in thirty seconds or one minute, you can make some remarkable work shooting in one or two or three days.

The studios are never going to make $200 million a picture with those types of movies. It's not familiar to them, and it's not a model that can necessarily be sustained. Now, if they go back to making movies about people ... well, I hope they do that.

What I would suggest to the young people is to not forget this and don't try to get assimilated into today's Hollywood style of movies because I don't think it's going to last long.