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I think it's important that we all try to give something to this medium, instead of just thinking about what is the most efficient way of telling a story or making an audience stay in a cinema.

The filmmakers have a story they want to tell, and they go get the material they need for it. The film either exceeds or fails to meet up to their expectations or it's different.

In a way, perhaps, there's an advantage of being on the edge of something and looking in as the observer, because as the filmmaker, you're the storyteller, and you're pulling out this universal story.

If a movie has more characters than an audience can keep track of, the audience will get confused and lose interest in the story.

You are always hoping that movie audiences are interested in characters and interested in story values rather than just mindless special effects. But you never know.

Sometimes films ignore other points of view because it's simpler to tell the story that way, but the more genuine and sympathetic you are to different points of view and situations, the more real the story is.

You know, when people talk about filmmaking and the techniques of filmmaking, we use them all the time in network television news in order to make our stories simpler, tighter and more understandable to the general public.

What we want to see is stories that are going to be honest stories about the characters that we're telling them about.

Films don't always tell a story; some films can achieve effect just by being razzle-dazzle or rock n' roll. That's part of the fare that's out there. And that's okay. For me, I place more value on a story.

I believe that filmmakers have to internalize the story and subtext so well that all of the departments can start to speak to each other - that music can speak to cinematography can speak to writing and back again.