All the director wants is their idea of the movie to be believed in.

The trick is falling in love with something enough, and being excited enough by something, to want to make that year and a half or two year commitment and wake up every morning at 5 to go deal with a whole day full of problems to get it up on the screen. You really need passion.

I think that I've learned to relax, and trust in and hire very talented people, and trust in their abilities a little more.

I've found music over the course of my life is slightly more astoundingly inspiring than great cinema

If you happen to have a spare $100 million floating around, then you're my producer.

I do believe that there are auteurs, in the sense that there are filmmakers with very strong voices and their voices are communicated on to the screen without a lot of compromise.

I have these ideas that people go 'Oh, that's cool. I'd pay to see it, but I'm not gonna give you $25 million.'

In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.

I'm of the school that I will direct you if you request it - if you have a question.

I learned that when you're lucky enough to be surrounded by such talented people that you really become more of an orchestrator of this talent - you're just trying to harmonise everyone's contributions.