“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.”

When you’re done shooting, the movie that you’re going to release when you’re done shooting is as bad as it will ever be.

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.

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.

Paris is the playwright’s delight. New York is the home of directors. London, however, is the actor’s city, the only one in the world. In London, actors are given their head.

The director is simply the audience. His job is to preside over accidents.

I started modelling while still studying. I liked doing television commercials and being in front of the camera. Lots of ad directors told me to try for films.

I’m a student. I want to do better, and I want directors who can find the actress in me and be my teachers. I’m interested in the whole process of editing, post-production and direction.

People know me through my characters. I don’t think they have any idea about the individual that I am. They know I am a director’s son, and I am married to an actress.

I trust my directors to see me through, for I don’t consider myself as a natural actor – or a good one at that.

In feature films the director is God; in documentary films God is the director.

To make a great film you need three things – the script, the script and the script.