It is a myth to think that sometimes creative disagreement doesn't necessarily produce a better result.

I think people forget that a lot of directing is just real management of the size of a production.

When you're used to looking through a stills lens and you have to capture an emotional moment, and that picture is not moving and yet it has to have impact, I think that's the first influence on my style.

The truth about filmmaking is you have all these ideas and you're trying to convince everybody that they should buy into this idea, but at two o'clock in the morning when you're all on your own you're going, 'Geez, I hope I know what I'm doing. I hope this idea is gonna work.'

You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.

The first prize for any production is, if you can find a location that means you don't have to build sets, that will serve, and is not excessively expensive to hire, then it can save you a lot of money.