Then I did one fight scene, and they said it looked good. Because I did it well enough, they've given me more.
Jude [Law] is really good at playing an obsessive. He has a very watchable quality when he's on a quest for something.
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.
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.
I had more fun making Traffic than either of the Ocean's films.
The last really expensive trip we took was so uncomfortable. It's so lazy. I want somebody to give me a great $30 massage as opposed to a bad $265 massage.
Any new possibility that existence acquires, even the least likely, transforms everything about existence.
I always had the dream of flying, and the cheapest way is to become a skydiver.
The born-again Christian sees life not as a blurred , confused, meaningless mass, but as something planned and purposeful.