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When you're working in front of the camera, there are always things that occur to you after the director has said 'Cut.' I could probably, if I sat down and thought about it, come up with instances where I wished I had made this particular choice or that particular choice.

In silent movies, they tended to put the camera down, and everybody walked in front of it and acted, and then they all walked off. Cutting was quite infrequent.

It's kind of dangerous to cut in the camera, but that's the only way I know how to direct.

I've done scenes in films that I felt like the performance was better in certain takes, but they couldn't use them because it didn't match what the person was doing when they came around and the camera was on them.

There are times when you're working with film people when you have to say, 'If the camera were on you, what you're doing would be perfect'.

I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.

When you're in front of the camera, for a small budget or a big budget movie, there's no difference.

Some people are directors and I think they should stay behind the camera.

You get to the middle of a take that's going really well and the camera will run out of film. They have to stop you, apologize and then you've got to get things going all over again.

As the lead of a movie, you really set the tone off-camera as well, and that's a really big responsibility.