I'm interested in stories about human beings. I don't care where or when they are set.

Because you're running an enterprise with two hundred-odd people, and it's really your responsibility to keep it moving quickly. So you have to know what you're doing, do it, and move on.

If you change a location opportunistically, to gain a day on the schedule, which I did more than once, you have to re-rig everything creatively on the spot, and you not only have to be able to do that, but do it with great fluency to keep moving. I used to go apeshit when anything got changed in a film but you live and learn, and I have learned.

Wisdom is not having illusions, especially anything in your own mind that elevates you above others.

I'm not a precious text protector, or anything like that, you know, because it's a much more vital form than that. You have to rock.

I cut London Boulevard pretty aggressively, but I liked the transitions and the elliptical feel that I got. It's not an exceptionally easy film to follow. You have to know that the paparazzo looks like Mark David Chapman. He hasn't got an expositional sign on him.

I shoot very little film. If you just do coverage you're shooting any number of potential films instead of just one, and I was shooting just one specific film. Film is cheap but time is expensive.