There's always a theme I'm drawn to, that we humans are not good or bad. We're all a mixture of both. We can have great compassion or commit great violence.
The reality is that art has often risen to greater heights than the people who created it. Many flawed artists have created great works of art. You have to decide if you are going to listen to Richard Wagner's music or not because he was very anti-Semitic.
For me, one of the privileges of being a writer is to poke your nose around and learn about worlds you don't know.
The first prize for any production is, if you can find a location that means you don't have to build sets, that will serve, and is not excessively expensive to hire, then it can save you a lot of money.
I think people forget that a lot of directing is just real management of the size of a production.
It is a myth to think that sometimes creative disagreement doesn't necessarily produce a better result.
You can sustain visual beauty and innovative visual ideas for a certain length of time, but in a two-hour experience, which is really what movies are, usually audiences - whether they know it or not - most want an emotional connection to character.
The truth about people at every economic level of life is you get those who are kind and who are not, those who are greedy, whether they be rich or poor. That's a common thread through humanity on any street you go to.
My first experience with film was through a still camera. I would sit, very much against my will, with my father in the game reserve, watching some elephant or rhino or whatever, through a 400 millimeter lens and wait, and waiting and waiting.
When you're used to looking through a stills lens and you have to capture an emotional moment, and that picture is not moving and yet it has to have impact, I think that's the first influence on my style.