“I’m an unusual director in that my cut is usually shorter then the final released film. I like short films.”

Anything I think isn’t working or might not work, I don’t even put it in the director’s cut. And usually it’s the studio suggesting I put stuff back in, as opposed to studios saying, “You got to lose 40 minutes,” they are always saying, “You’ve got to gain five minutes.”

I don’t believe in leaving a scene in because it was really hard to shoot, or because it’s the reason you took the movie, or because you always wanted to work with an actor . . . If it’s not making the movie work, get rid of it.

We should all relax about life because you don’t have a clue as to what’s really going on.

There is something about being a director where, for me personally, I get to . . . it’s the closest I’ll ever come to being able to be a stand up.

By definition a sequel can’t be original. So you’ve got to figure out what worked the first time around.

I haven’t read a review of one of my films for the best part of 10 years.

And then through editing, and finishing the effects and adding music, you get to make the movie better again. So I’m really hard on myself and on the movie.

And my feeling was if I was going to succeed as a director, I had to just be a director and give up the safety net of being a cameraman.

I’m not the one or two take guy, but I’m not the 20, 30, 50, 70 take guy either. If I do a bunch of takes, like more than five or six, it’s usually for some technical reasons.

These movies are like my kids. I just love them to death. Some of them go to Harvard and some of them can barely graduate high school.

I was seeing a lot of really good things about Get Shorty when it came out, and my wife pointed out that if you validate the good reviews, you also have to validate the bad reviews.

Michael Jackson wanted to be in Men in Black II. He told me he had seen the first Men in Black in Paris and had stayed behind and sat there and wept.

Michael worked one day. Everybody was a little freaked out and nervous because he’s a really big star. We were already working with really big stars, but Michael is Michael.

When I move from being a cameraman to being a director I looked at a lot of other cameramen who tried to make the move. And in each case they moved up their camera operator to be the DP, which really meant they didn’t want to give up being the DP, and really wanted to do both.

It felt scary because there was no auditioning, no rehearsing.

And to use my particular sense of humor, and hear people laughing, without me having to stand up in front of an audience and tell jokes.

I really cut my teeth on off-off-off Broadway shows.

Our mission has been the protection of the wage-worker, now; to increase his wages; to cut hours off the long workday, which was killing him; to improve the safety and the sanitary conditions of the workshop.

What if a puppet could cut its own strings, and in that act of defiance and strength of will become truly alive? Become is own puppetmaster?

Post-modernism has cut off the present from all futures. The daily media add to this by cutting off the past. Which means that critical opinion is often orphaned in the present.

When the savages of Louisiana wish to have fruit, they cut the tree at the bottom and gather the fruit. That is exactly a despotic government.

Gaza is often described as ‘the world’s largest open air prison’ because no-one is allowed to enter or leave. But that seems a bit unfair to prisons – they don’t have their electricity and drinking water cut off randomly almost every day.

The first cut I do is usually between five and 10 minutes shorter then the cut that we release.

Where is the politician who has not promised to fight to the death for lower taxes- and who has not proceeded to vote for the very spending projects that make tax cuts impossible?