The mongoose I want under the stairs when the snakes slither by.
I had more fun making Traffic than either of the Ocean's films.
The brief flashbacks are sun-kissed, summery and optimistic. It's the only place in the movie you will see red, yellow, orange, or any vibrant colors.
Jude [Law] is really good at playing an obsessive. He has a very watchable quality when he's on a quest for something.
Maybe I'll paint, do photography, just something else. I can see that.
I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too. Stuff I like is getting trashed and stuff that is being praised I think is terrible. I don't really feel in sync with what's happening, but at the same time, what I think keeps me afloat is that I try not to be, and don't want to be, very indulgent. I try to make the films as lean as possible, and to not spend a lot of time crawling up my own ass creatively.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
Separate educational facilities are inherently unequal.
Stone crumbles. Wood rots. People, well they die. But things as fragile as a thought, a dream, a legend, they can go on and on.
The young people look great on television. They’re youthful and have a lot of zip and energy, but when you see them live, they can only do about 20 minutes because they haven’t got the training to hold an audience for an hour and a half or so.
I guess my approach to adapting books is to treat them with a deep respect on one level and at another level part them to one side and go, 'I'm doing something completely different here. '