I'm always looking for a kind of new musical entity to sort of move into a motion picture venue.

Yeah, I had an idea to make a very scary movie, based on a kind of serial murderer that preys on tourists.

Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening.

You really are as hot as your last movie. And it goes away really quickly.

Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.

So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.

But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore.

You know, I listen to contemporary music all the time.

You know it's always amazed me - I think the most startling thing that's happened in the last couple of decades is that there is no sort of objective reporting anymore.

I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.

And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.

I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.

I've been sort of traveling around the country for ten years talking about independent features.

I'm always looking for a kind of new musical entity to sort of move into a motion picture venue.

I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.

However, I spent most of my time in a Quaker school.

I don't see scarey films. I certainly wouldn't go see my films.

Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.

That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.

I mean, I don't mind promoting a movie, or talking to the press if it's going to be used in some way.

I hadn't done just a straight-out comedy in a long time, just letting an ensemble do really good character acting, having them carry the movie as in my earlier pictures.

I do like directing other people's material.

When you make a movie outside the system and it's successful critically or a moderate financial success, you usually have to go back into the system and make a big hit.

It's always great to discover a new star of tomorrow.

And we've become very doubtful of our information sources, because they're all controlled by these huge multilateral corporations.

However, ironically, I was baptized Presbyterian, and went to a Quaker school for twelve years.

The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.

The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.

You know, when people want to get any information, research information, it will all exist on these Web sites.

It's always great when you discover someone.

That’s what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.

I was raised with the notion that it was OK to ask questions, and it was OK to say, I'm not sure. I believe, but I'm not quite so certain about the resurrection.

Although computer chips now are thinner, they're more powerful, they're not as reliable. You'd harvest computer chips from the 1980s from all around the world because they're reliable.

Risk will always be a part of life. It's how we recognize this and deal with it that matters.

That is the one single word that the food industry hates: 'addiction.' They much prefer words like 'crave-ability' and 'allure.'

I lost 30 pounds to play my character in 'The Mexican', but people don't take to skinny mafia men, and I don't feel right when I'm thin.

Intentionality and talent always matter. An extraordinary feat is certainly made more likely by someone's focus, hard work, etc. But chance also matters.

The term 'renaissance man' is always bandied about. I don't think that applies to me. You think about Leonardo da Vinci, and he was a painter and a physicist and an architect, and that is a true renaissance man.

Love is the flower of life, and blossoms unexpectedly and without law, and must be plucked where it is found, and enjoyed for the brief hour of its duration.

Economics brings into view that conflict of choice is one of the permanent characteristics of human existence.

Over the years, if you look at the films of people like Billy Wilder, Preston Sturges, Frank Capra, their supporting characters, even if it's a doorman with two lines, always seem three-dimensional. To me, that's a sign of good storytelling.

If you were not a sinful, polluted, helpless, and miserable creature, this Savior would not be suited to you, and you would not be comprehended in his gracious invitations to the children of men.

Sometimes people surprise us. People we believe we know.

Our thoughts create our reality where we put our focus is the direction we tend to go.

If your opponent is of choleric temper, irritate him.

I don't do drugs. I never have taken any drugs. I don't believe in them.

No man is a success in business unless he loves his work.

The future of publishing is about having connections to readers and the knowledge of what those readers want.

I believe a lot of players that start to think about money - 'Oh my goodness; I'm up for a new contract' - they don't have a great season because they're thinking about all these different things. Do your business on the field, and everything takes care of itself.