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As a filmmaker, the only way that I understand how to make a film is holistically.

There's got to be something you want to tell and that's the engine which spurs all of the work you have to do in order to create the story, but you have to love some sort of nugget of what you're telling to be a filmmaker.

Making a movie is difficult enough to sort of have a premeditated length that you're going for. I don't know a single filmmaker on the planet who does that.

But you talk to most filmmakers and it is six, seven, eight years trying to get things off the ground. It is incredible really.

I'm not educated as a filmmaker, so it's quite a jump for me.

As a filmmaker, you aspire to want to make movies that can hopefully stand the test of time, but you never know when that will happen or if that will happen.

Every filmmaker's just going to keep trying to make it the best you can make it: make it as potent and interesting and entertaining and exciting and tough and sexy as you can.

One of the most interesting aspects of the film project was collaborating with so many people - directors, filmmakers, and writers - over a five-year period. I learned that there are two components to this.

I think that when you're making a story... that's based on somebody, the filmmaker has his duty to do his research.

We're able to push the envelope with what we're doing, both on a technical and artistic level, which is the most that any filmmaker can ask for.