I'm usually the first guy to propose a change because I'm continuing my process. We're in a context, in this business, a context in which most screenplays work on a very modest level of achievement, in that a lot of them aren't really written by what you would call writers.

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.

Out of all of the Star Trek movies, I happen to like the most recent one the best. I think it was the best one ever done.

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.

If you're playing around with a film, you're just playing around with it. But if it has to go into theaters, you get yourself into gear and finish it.

I have a library room with four desks in it. On one of them is a spec, on one of them is a present work, on one of them is reading for a future work, on another desk is a novel I'm not doing until I'm a hundred and fifty, and things like that. But, contractually speaking, you just do one at a time when it's on and paid and live. You do your real day on one project and the rest is just literary life. Or intrusions.

As a director, you're given a tremendous apparatus to work with, and very great talents are available to you.