I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.

I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.

I have nothing against diamonds, or rubies or emeralds or sapphires. I do object when their acquisition is complicit in the debasement of children or the destruction of a country.

There is a segment of the American population that has been excluded from the national myth, and that should be redressed.

To me this movie is about what is valuable. To one person it might be a stone; to someone else, a story in a magazine; to another, it is a child. The juxtaposition of one man obsessed with finding a valuable diamond with another man risking his life to find his son is the beating heart of this film.

Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.

Sometimes when we weep in the movies we weep for ourselves or for a life unlived. Or we even go to the movies because we want to resist the emotion that's there in front of us. I think there is always a catharsis that I look for and that makes the movie experience worthwhile.

I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.

I look at modern life and I see people not taking responsibility for their lives. The temptation to blame, to find external causes to one's own issues is something that is particularly modern. I know that personally I find that sense of responsibility interesting.

There is no reason why challenging themes and engaging stories have to be mutually exclusive - in fact, each can fuel the other. As a filmmaker, I want to entertain people first and foremost. If out of that comes a greater awareness and understanding of a time or a circumstance, then the hope is that change can happen.

I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.

It seems that almost every time a valuable natural resource is discovered in the world-whether it be diamonds, rubber, gold, oil, whatever-often what results is a tragedy for the country in which they are found. Making matters worse, the resulting riches from these resources rarely benefit the people of the country from which they come.

There is something universal in the theme of a man trying to save his family in the midst of the most terrible circumstances. It is not limited to Sierra Leone. This story could apply to any number of places where ordinary people have been caught up in political events beyond their control.

'Milk' doesn't imply that all gay men who stayed in the closet were cowards.

A lot of superhero sequel movies, they resemble each other greatly.

A sex scene is gratuitous when it only exists for its own sake.

Adolescence is a time in which you experience everything more intensely.

Anorexia is pernicious and not something which goes away overnight.

As we began to read more and more journals of men who had been in the Civil War and then been in the Indian Wars, we realized there was a whole universe of men whose souls had been shattered, whose lives had been utterly destroyed by what they had to do.

Doctors are kind of this shibboleth in our society. We know what they do, and we depend on them, but we don't know a lot about what it feels like from their side.

Every day and every scene, it's never the scene that you expect.

Forgive me, but what is the purpose of drama but catharsis?

I do watch 'It's a Wonderful Life' with my children at Christmas, and I liked it long before it went into the public domain and became a cliche.

I guess television is so much on the word. It's so much closer to playwriting - the scale is more just about the voices and the internal lives. Movies, it's a very different canvas.

I had known a couple of people in college who went off the rails, who had significant bouts with mental illness.

I know that when I'm writing, I always want to be directing.

I like to do everything I can to avoid rehearsals, even while we're rehearsing.

I like to reveal people with some of the niceties of social behavior stripped away and the moral, ethical, and political issues are revealed.

I met a lot of women in the military with Meg Ryan, and they were remarkably impressive: Competent and strong and not versions of men, but versions of women. And they had stories to tell about how difficult it had been for them.

I might have painted myself into a bit of a corner doing all these big, serious David Lean-esque movies.

I really look forward to that opportunity to be a student and discover things. That keeps it interesting for me. And I sometimes get easily bored, and there are still some things I wanna talk about instead of repeating something.

I tend not to go look at movies before I make a movie. I'd rather not be specifically influenced.

I think every culture - you can call it an American Ronin, a medieval knight errant, you could talk about 'Shane.' There is an archetype that I think is actually common to a lot of cultures, and even the Clint Eastwood stuff was probably as influenced by the Japanese stuff, and yet done by an Italian.

I think it's easier to be cynical. I think the temptation, often, among writers is to write about anything other than real, true, deep feelings.

I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man... there is a tradition in the most simplistic of action movies for there to be some horrible villain.

I think most Americans probably believe that our relationship with Japan began in 1941. In fact, obviously, it began in 1854 when Commodore Perry sailed into Yokohama harbor and threatened to burn it down unless they would open up to trade with us. The imperial impulse was first ours historically.

I think that I am interested in the resonance between character drama and high stakes, either situational or political or social or other kind of elevated drama, and I tend to find that those things combust.

I think there is a very powerful wish that we all have of being self-contained and having sort of opted out or choosing to remove ourselves from society and to have no ties and no obligations, and even no possessions. To be free in a particular way.

I think to see American troops in an American city is, you know, the sum of all of our fears.

I was trained in the repertory theater. You would do Moliere one night and Sam Shepard the next.

I watched aspirationally. I looked at movies that maybe I didn't entirely understand but which developed in me some thirst for their subjects or for their context, and that became part of how I came to understand the world.

I would say that 'Schindler's List,' as powerful as it was, seemed to have continued with a particular iconography of victimization and passivity. That was the iconography with which I had grown up and to which I had grown accustomed.

I'm always interested in the ways in which a character can inhabit either a theme or a premise personally, so that those scenes that are about his character or his relationship with other characters feel in context and don't seem to be apart from or oddly vestigial to the actual drama.

I'm very promiscuous in my tastes.

I've always been drawn to all sorts of genres and all sorts of voices.

I've always believed that the stories and the performances are more important than I am. I think that the more invisible that my hand is, the more attention people can pay to the story and to those performances.

I've done all sorts of different kinds of action. We did a thing in 'Blood Diamond,' the attack on Freetown, where I carefully staged the action but did not show the camera operators what we were going to film - so it has the feel of documentary, trying to capture something, and that gave it a whole different feel.

I've enjoyed the singular focus of not going back and forth between the two mediums. It isn't about the screen size so much as film being where the stories I'm most interested in telling happen to be at.

I've never been one of those guys who storyboards every frame, because that would take away some of the mystery and some of the fun.