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I like how you can go back and watch David Lean and John Ford and see the influence that had on Steven Spielberg, especially David Lean, in the camerawork, and yet, you don't watch any Spielberg movie and think of David Lean. Once you're looking for it, you see it all, but it's not in your face.

I came to the industry with wide eyes and an open heart thinking I was going to make a few films that really meant something that I could pour myself into.

All of a sudden, those few pages of script that he had shown me with the weird images I could visualize all of that in my brain, and I knew that there was this mad little genius at work here and I really wanted to do the film.

If I hadn't gone into the theater, I would be a painter.

I definitely felt that I was put at a very high place to be able to be a part of such a wonderful franchise in cinema history, so I was definitely very driven at doing a great job and having my body look the way it should and just being a part of the creative process.

I've made a couple of films that were a little too wide and non-specific - like 'The Doctor.'

As an artist, there's so many categories that you're put into, that there are so many things that I'm about that I've never explored as an artist on film. I don't see myself in so many characters in film.

I completely take on the risk, the poker game, which being an artist means, and I'm going to try to make a film which honestly reflects what I have in my head.

I've never done a big studio film, I've only ever done little ones.

I'd done a ton of movies here in Hollywood, and I realized that every movie I'd done was somebody's else's work and someone else's vision.