If you need someone to come out of the sewer with a wire you don't hire someone who needs laborious collective instruction. You let someone do his job, whether he's a focus puller or a surgeon.

Actors are players and if they're hot, or onto something, you let them go, or you and the actor can both get on to something. I always run out with lines as I think of them.

My gratitude to Ridley [Scott] isn't anything new. I named one of my kids after him. But he's a very important person to me.

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.

Look at what people are trying to conceal, and you’ll see that they’re revealing everything.

When I was a kid in London there was just something about the light and there's something about the way London went onto film in those days, whether it was Technicolor or Technicolor plus the flatness of the light, or whatever.

On historical you take the known facts, dramatize them, and then stitch them together by invention. It's a projective thing.