I'm always aiming for some magic in films if I can find a mystical quality either in a song or in a moment or a character's intention.
There's a way of filming where you can get rid of the vanity and of trying to make something beautiful.
As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.
When I do a mix tape for my kids, for my friends, for my lover, I meticulously choose the tracks, and it's beautiful. And when they are alone they think of me - and when I am alone I think of them.
I love those films where I feel the director's confidence - where he doesn't need to overdo it with the shots and the cuts.
You've got to trust your instincts, your judgment and trust the storytelling that came before and the quality of the acting with the emotion.
I respect the British a lot - their history, their past, their culture. I think it's beautiful, what they have with the monarchy.
Just film what's there, trust what came before, one hour before, and make it easy.
I look back, and I've got a couple of films, and I'm happy.
I'm from the 'less is more' school. I had to be in the 'more is more' zone with 'Dallas Buyers Club', so I was out of my comfort zone, but I had to trust that.
In a career, when you hit 40 and you've done a lot of this and that, you want to try some new things. I feel like that as a director, too, from one film to the other.
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