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When a director is also a writer, everyone on the production looks to him, knowing he gave birth to the idea. There's a different level of viability.

To be honest with you, a lot of directors can be very lazy.

Every time you say yes to a film there's a certain percentage of your yes that has to do with the director, a certain percentage to do with the story, a certain percentage with the character, the location, etc.

In some instances, I would say the writer does deserve equal billing with the director. In other instances the director - especially if he wrote part of the script himself - is clearly more the author of the movie.

Sometimes the producer has more say and the director takes what he is given. On other occasions, you don't see the producer very much and the director is the one who it is all about.

A lot of directors keep writers away because the writers know the script better than anybody, obviously they do, and they have certain intents. But a lot of people would be surprised to know that writers are pretty flexible when it comes to their work.

I had read too many memoirs that were written after the writer or the director was past his or her prime.

You can write anything you want on paper, like blowing up the bridge on the River Kwai, but when you actually have to do that as a director, it's not the same. Ninety percent of directing is not creative - it's putting the theoretical into the practical world.

There are plenty of writers who are going to become a director after their next job, but no one will believe you're a director unless you believe it.

I don't run after successful directors. I give importance to the content of the film.