I feel like, Barry Seal, he's pure of heart.
I understand that it's a huge luxury for people to dwell on the problems in Washington. Things have to be pretty tidy in your own life that you have the time to worry about what's going on in Washington. Most of us spend our time worrying about the things that are directly around us: our love lives, our careers, and our banking accounts.
Aaron Taylor-Johnson and John Cena, in 'The Wall,' are superheroes. They're very grounded, but the amount of training and stuff that soldiers bring to the field, they're like Iron Man.
Being on a commercial airplane is actually one of the safest places you can be on the planet.
I love 'Bringing Up Baby.' Anything that Katharine Hepburn's in. I'm committed to the Humphrey Bogart, Cary Grant, Katharine Hepburn era of filmmaking.
My films have been successful, and therefore, the process has accommodated me. When the studio said 'no,' I did it anyhow. Now they don't say no to me.
'The Wall' is a reaction to 'Edge of Tomorrow,' where I was like, 'I don't need time travel and aliens to take a hero and pin them down in an impossible situation. I can do it in a much simpler way.' And that was 'The Wall.'
I make movies for me and posterity. I'm more scared of history than I am of the studio.
I think when the United States of America put a man on the moon in 1969, that was one of the greatest accomplishments mankind has ever done.
At the end of the day, the less money you have, the easier it is to make a movie.
So many of Spielberg's films inspired my imagination growing up. And then there are British films like 'The Full Monty' and 'Waking Ned Devine' that took me to places I really loved, with characters I just thought were amazing. But the films of Luc Besson showed me France - a really cool side of France.
I'll just say that there are certain people who continue to be hired in Hollywood, and that leaves me truly shocked.
Almost anything can be justified as a style of filmmaking if it works.
It's no secret that my process is a little bit loose and can be a little bit infuriating to a studio if they don't know what they're signing up for.
The beating heart of your story... that's not what shows up in a trailer. The other stuff is what shows up in a trailer, because that's what gets people in to the seats, and that's how studios make their money.
When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.
To be honest, when I started watching VR content, I was mostly disappointed and thought people could do better - not that different from when I set out to make 'Swingers' and thought, 'There's a better way to make an independent film.' Which is why 'Swingers' ended up being so much less expensive than anything like it.
It causes havoc on set anytime a director wants to go backward rather than forward.
Given the kind of filmmaker I am, the kind of experiences I've been trying to give audiences, I was drawn to the potential of VR before I even tried watching anything in VR.