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Something impacts me emotionally, art is a kind of outlet, and I figure it's the same for a lot of artists. The way my mind deals with things is cinematic.

Whether I'm acting or making it, at the end of the day it's telling the story; action, drama. You want the audience to feel it - the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.

I focus on the elements of a movie that are meant to invisibly affect me as a viewer. The edges. As an author, I'm aware of how the subconscious things can pluck at a reader's emotions, and I love it when filmmakers do the same.

I don't really mind not being a part of a film - because if there is no part for me, I will never force myself upon a film. I feel like it's just a distraction. If it is not organically incorporated into the story, it just feels like a stupid appearance, like a sort of wink. I hate that.

I think making a movie is like drawing or creating an art piece. The artwork reflects part of your personality, but not all.

When I go to a film, you're taking it easy and you let things wash over you. That's what cinema's all about. You get involved in a world that's being created in front of you.

I'm trying to figure myself out through my movies. Whether it's big stuff like what we're doing here, or little stuff like, 'Why aren't I happier?' With every film I feel like I'm apologising for something. I feel I'm most successful when I'm looking for something that embarrasses me about my character that I'd like to expose.

Each production has certain circumstances that will bring you to a certain way of making it. It is not intentional, it is not an artistic decision, the way we make films, it is the way we address to our problems.

The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.

The notion of artistic responsibility begs questions with no satisfactory conclusions, the most inevitable and ineffectual being that we should just keep thinking and talking about it, given that the alternative - a governmental body monitoring the movies we make and see - is unacceptable.