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 respect the British a lot - their history, their past, their culture. I think it's beautiful, what they have with the monarchy.
Trust the acting.
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.
As a director, try to be humble and not to overdo it, not overcoverage and over-covering the scene.
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.
When I see great film, I have this feeling of 'Oh, wow! Wasn't that great? Wasn't that good?' I want to do something. I want to scream and go out there and participate and embrace life.
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.
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.
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.
I couldn't stand still at a desk for another year. I wanted to go out there and make films.
I look back, and I've got a couple of films, and I'm happy.
Just film what's there, trust what came before, one hour before, and make it easy.
There's a way of filming where you can get rid of the vanity and of trying to make something beautiful.
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