I think we're lucky because there are very few people in life who get to do what we're doing.
I've had a love affair with every movie I've ever done.
I'm trying to use the camera to get into people's heads. I use camera techniques a lot to articulate character.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
The real world is where I get to educate and entertain myself. I go and touch the real world and touch real people. That's my way into movies.
A lot of actors talk about doing their homework, but very few of them do it.
With every movie I do and every day I go to work, my goal is not just to reach for difference, but also figure out how to look at world and characters in a different way.
The scariest thing in my life is the first morning of production on all my movies. It's the fear of failing, the loss of face and a sense of guilt that everybody puts their faith in you and not coming through.
Research is what drives me. When I get a script, I go to the real world and touch the real people.
I thought that subtitles are boring because they're there generally to serve us with information to make you understand what people are saying in a different language.
I make a movie because it's something that inspires me.
The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.
I love shooting with real things in the real world. I think it gives a level of drama, performance, and everything seems to rise to the occasion.
Ridley and I talk every day. Our family is very close because were from North England.
I like changing the pace of my life, changing my discipline. It gives me ideas for how to see the world differently.
Out of the total of 11 movies, I got slammed.
I have a short attention span.
Making a movie is like a marathon, and commercials are like sprints - they're equally satisfying, but in different ways.
The world is sick of big IT things that don't work.
Shooting in real-life situations helps actors because they're competing against the noise and the wind. Out of that comes things that shift and change, in terms of tone, but not in terms of re-honing the whole sequence.
I always get role models, people from real life who've lived the lives of the characters, and talk it through together, me, them and the actor, a lot. That helps. We certainly have our disagreements. But in the end we trust each other.
I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming but it reduces the chances of 'misunderstandings' on set.
I think the guiding principle for me is working with people, because I don't know how long it's going to last, I want to seize the moment and work with people I want to work with.
The hardest scene for me is always the scene when I'm dealing with performances, when I'm actually looking at the guys and hoping that I'm covering it in the right way and that I'm handling it in the right way.
Its very hard trying to talk to an actor about how they should deliver lines, or cut their hair, unless it comes from a place of a strong point of view.
