You work with the communities to make films. And you just don't go in and take over their territory.
I've written immense love letters that are supposed to be opened over days at a time. 
It's a treat and daunting to be directing someone like Judi Dench, who's made more films than I'll ever make in my lifetime. 
To do action without cuts is infinitely more exciting. 
When you know you have a certain amount of work to finish, you just don't allow yourself to get sick again. 
You have to tease enough misinformation and lack of information to hopefully make people want more. 
You're always against the clock. But really just fighting for quality. 
I'm not a very sentimental person, so you're not going to find schmaltzy scenes in my movies. 
My mom loved the old black-and-white films. 
I'd done the method bit before from, like, age 15 to 19. I was a Civil War re-enactor. 
I think I have this field around me that makes electronics work bad. It's not like an entropy thing; it happens very quickly. 
I've been wanting to make a movie about the war in Sierra Leone, specifically, for more than 15 years. 
I'm terrible at making titles. I never like the titles of my films. 
There's nothing I find more lazy than unmotivated camerawork just to make things look interesting. 
I'm not Mexican, and I'm not Central American. I'm from California. 
New York is perfect for Tanizaki because it's filled with so many dark spaces. 
I've certainly never been dying to go to England my entire life. 
I'll definitely say that, before film school, I didn't have much of a film-history background. I didn't know much about classic cinema. 
'City of God' and 'Slumdog Millionaire' are both films that I really like, but they are stylistically the opposite of what I wanted to do. 
I want to be happy while I make movies and not just do things just to work. I want to do things I spend years on. 
I want to have a nice country home one day, yeah. 
When people start talking, things happen. 
I eventually want to do writing on all the films, but not necessarily to be the writer. Writing is a painful, painful thing; it really is. 
My mom was married to a Mexican guy - a surfer - and so we'd kind of camp out on the beach the swell season. 
I do want to direct a movie from horseback one day. 
Collaborations aren't easy, but you definitely get something highly different than had you done it on your own. That's part of the experience. 
I just have a hard time displaying things. 
I think the semantics of mini-series for a network is that it has an end. 
I don't believe happiness comes out of material gain, for sure. 
Every single substitute teacher growing up could not pronounce my name, so whenever someone pauses, I'm like, 'Oh, that's me.' 
As storytellers, you're always somehow creating history. 
Sundance took me on my first film and from there sort of launched my career. 
I began writing fictional stories and little screenplays when I was in fifth grade. 
My ideas tend to be either really big in terms of like, the logistics, or really small. 
I didn't grow up watching detective shows. I've never even seen an episode of 'CSI.' 
I have aspirations of making a big, historical epic. I don't know if I'll ever get the money to do it ... 
Tom Hooper had done 'John Adams,' and David Lynch did 'Twin Peaks.' I figured I could do eight hours of television, and I wanted to. 
It's so easy for shows to be gritty and handheld and shaky and really tight in people's faces. 
My friends just make fun of me in some shape or form. 
Have you seen McConaughey in 'Unsolved Mysteries?' Even back then, it's a great performance! And he's mowing the lawn. 
Ed Norton is probably one of the smartest people I've ever met. 
There are elements to the 19th century which just don't work for contemporary audiences. 