My stories are pretty simplistic, but the characters are always complex and always right, and that comes from the script and my research and reverse-engineering what I find in the real world.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
I have a short attention span.
The true excitement comes from the actors - that gives you the true drama - and whatever I can do with the camera, that's icing on the cake.
New York is vertical - all skyscrapers.
All my movies, like Revenge, are under two hours.
GM is a highly collaborative organization; we rely on a whole tier of suppliers for everything that we do.
Ridley and I talk every day. Our family is very close because we're from North England.
I think we're lucky because there are very few people in life who get to do what we're doing.
I've had a love affair with every movie I've ever done.
We think of enterprise architecture as the process we use for fully describing and mapping business functionality and business requirements and relating them to information systems requirements.
I like changing the pace of my life, changing my discipline. It gives me ideas for how to see the world differently.
I always get everyone prepared so there aren't so many arguments on set. I have a policy that the first thing I do in the morning is go over to the trailers and discuss exactly what we're shooting that day. It's time-consuming, but it reduces the chances of 'misunderstandings' on set.
The real world has always been far more exciting and funny and dangerous to me than anything somebody could conjure up sitting in front of a computer.
The scariest thing in my life is the first morning of production on all my movies. It's the fear of failing, the loss of face, and a sense of guilt that everybody puts their faith in you and not coming through.
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