I really, really love directing films.

One of the other things I think that I've been able to do in my life, is to listen well.

I think that you can't make a movie without a script. But you also can't make movies without actors. You also can't make movies without technicians. And there has to be just one person in charge of everybody, and to me that one person is the director.

The first thing I can really tell you is I really love the work.

You have to really work with someone who you think is going to be a collaborator, who you think understands what you want to do with this movie and how you want to do it.

So I've had really great assistant directors for my last seven movies.

There are two things I will never do in my life. I will never climb Mount Everest, and I will never work with Val Kilmer again. There isn't enough money in the world.

I've found that the more experts you have on a movie, the less control the director has.

I think all great actors - and I don't classify myself as one of them, incidentally - but I think all great actors listen well and I've learned that from a lot of the very good actors with whom I've worked - to really listen to what people say.

There are so many effects and so many things that are done digitally now that it's so hard for the director to really control the process, because there are more and more experts that come in.

I look at actors very closely. It's not an accident when the actors excel.

To do that I try and keep myself in pretty good shape physically and I try to lead my life in such a way that I'll be able to be as strong at the end of the movie as I am in the beginning.

The first assistant director is just so important that the choice of that person is critical to the movie.

It's very eclectic, the way one chooses subjects in the movie business, especially in the commercial movie business. You need to develop material yourself or material is presented to you as an assignment to direct.

The importance of the assistant director cannot be overemphasized.

But I really am very active in the choice of the line producer with the producer of record and the distributing company, because I've had some terrible, terrible experiences with some line producers, particularly in cable.

Casting is 65 percent of directing.

The first thing is that we're being attacked by both the Writers Guild and the Producers Guild. Both of these groups are trying to diminish the importance and strength of the director. They're trying to do it through both frontal and side attacks.

If you don't cast well, you can be in real trouble.

First, speaking for myself, I don't want to ever be in a position where I'm telling other directors how to make movies, because I don't think it's any of my business.

The accolades usually come when you're dead or too old to get a job.

If you cast the picture correctly, you have a whole lot of leeway. You can make mistakes in other aspects but pull it off with the right actors.

I feel that my job is to create an atmosphere where creative people can do their best work.

Historically the director has been the key creative element in a film and we must maintain that. We must protect that, in spite of the fact that there is new technology that's continually trying to erode that.

I really, really love directing films.

One of the first lessons you learn as an actor is to listen.

And I kind of feel that I have a responsibility to the people that invest their time and money with me to show up on the set every day and do the best of which I am capable.

I think I've made some pretty decent films in the '80s and '90s.

Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.

I sought Ben Affleck because I needed an everyman for this role. Ben appeals to men and women. He gives you a sense of intelligence, the notion of a guy who can think on his feet.

I mean, this whole digital revolution is really eroding the director's importance on a movie because, number one, just from a practical standpoint, with floppy disks and the ability to put all of the film onto a disk, more people have access to the movie.

I have gotten to a point in my life where I don't want to have dinner with someone I don't like.

A disk unbeknownst to the director can go to the producer in another city or in another office and that producer can edit behind the director's back much easier than in the old days. Since these dailies are now put on videotape, more kinds of people have access to dailies.

And in Hollywood, you know, everyone is an expert. Most of them are expert editors. They can't direct, they can't write, they can't act, but, by God, they all think they can edit.

The accolades usually come when you're dead or too old to get a job

We assume that celebrities have it easy and so love to watch them having to endure a bit of hardship.

I love Nautilus and stretching. The results are immediate, and that gives me the motivation to continue.

I am a ordinary teenager. I fall in love like everyone else.

I don't call you handsome, sir, though I love you most dearly: far too dearly to flatter you. Don't flatter me.

The essential elements of giving are power and love - activity and affection - and the consciousness of the race testifies that in the high and appropriate exercise of these is a blessedness greater than any other.

My mother keeps things in perspective for me. She makes me realize that the acting I do and love is no more important than what one of my brothers does-he works in a shoe repair shop. If my career ever tapers off, I'll go to college.

Actors love mental disorders, dialects, and corsets. Give them one of the three and they're happy.

My goal is, of course, for this show to do well, and I would love it if people liked it.

I love living on that stage. Without that, I'd die.

I love my DSL, but I love my WiFi more. And I probably get on the Internet 40 percent to 50 percent more because of the combination of those technologies.

But I love New York. I used to set my alarm clock when I was there, and get up at 4am and get a coffee, just because I could.

I love children and I love men, but I can't commit to either for the rest of my life.

Sitting at home the way I do, I'd just love the hear from people. It'd be a great help in passing the time.

The wise are wise only because they love. The fool are fools only because they think they can understand love.