I think probably everybody works most on the beginning and the ending.

Some reviewer might be out there saying, obviously Edge of Darkness didn't come off because of the script, blah blah blah, but everybody has read the script, except the journalist attacking it.

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.

The only answer to "Are you Beatles or Stones?" is, "I'm both."

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

I learned from Ridley [Scott] how to come out of the trailer at a fast walk and make your decisions and keep it going. We were very much on time and under budget, as they say. That was a very important thing for me and very satisfactory.

Redrafts can be very lucrative for me, but you must understand that if films go through many drafts or writers it's because someone doesn't want to do the picture and never will.