Fight sequence to me isn't just about the athleticism. It so often is about what the emotion that is behind it and how willing you are to really, really challenge that emotion or really take that emotion to that place so you're feeling a certain intensity for the whole time when you're shooting the actual physical scenes.

That's what I love. I love thinking about the film, the project and committing myself as much as possible.

The majority of the filmmaking process is in pre-production. The more you've planned out the more freedom there is on set to find new stuff, to play around, find new jokes and let the actors kind of breathe - but it needs to come from a place where it's completely structured.

I grew up the son of an acting teacher but I've never been really good at articulating what that process is. It was always a bit more internal.

I never think of people's nationality too much. I always look at everybody the same. It's impossible for me to just say one group of people over separate groups of people. Maybe it's because I was raised in New York City which is this melting pot. Everybody was always the same and the whole point of my whole film existence was to say that we're just one race.

When people believe in you, you can do miraculous things.

I've turned down twentysomething million dollars for movies.