You want to see women your own age in films.
I seek speed, clarity, and a practical approach in people I mingle and work with. I can't see myself working in films that stretch beyond maximum four months.
I love UFC, vigilante films, and any acts of merciless heroism.
I don't want to make pompous, serious films; I like films that have a kind of vivacity about them.
After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.
I like superhero films, and I love Star Wars movies, but I want to make sure there's a wide diaspora of films getting made.
There were certain films where I went, 'Oh, my God, I'm doing a movie.'
In fact, 95% of the people in my films have been nothing less than a pleasure to work with.
Technical skill counts for nothing if it is used only to manufacture films which have little to do with humanity.
To me, the most interesting films are films that take very strong points of view and bang them up against each other and let sparks happen.
It's only been a couple of times in my life that I've really locked horns with actors. It did not hurt the films, it just hurt the moment of the filmmaking.
You kind of form a bond with your subjects, in a way. You're in it together. To a degree that people don't realize, documentary films - or at least the kind of documentary films I'm interested in - are a collaborative undertaking with the subjects.