A movie that costs only $1.6 million doesn't have to be a cultural event to turn a profit.
Another thing that really excites me: I'd like to do multiple versions of the same film.
But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.
Creatively speaking, it all just started with me seeing George Clooney on TV and instantly thinking. That guy's a movie star.
I could see a point where I feel like I'm not doing as good a job as I ought to do and I should do something else.
I don't consider myself to be particularly gifted in the way that other filmmakers are gifted.
I guess I didn't feel confident enough to be searching in a big public way. I was very content at the time to toil in obscurity on things that I thought might point me in certain directions or teach me certain things - not knowing what that would be.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
I had more fun making Traffic than either of the Ocean's films.
I just produced Criminal, this remake of Nine Queens, and one of the things that appealed to me about Nine Queens is that it was a performance piece, and that's the most fun.
I knew the tone, and when you're dealing with Elmore Leonard, tone is everything.
I know why we can't have a frank discussion with our policymakers - if you're in the government or in law enforcement you cannot acknowledge that drugs are anything but inherently evil and morally wrong.
I like to make all kinds of movies. I'd do 'Ocean's Thirteen' with the right script.
I look at other filmmakers and see skills in them that I wish I had but I know that I don't. I feel like I have to work really hard to keep myself afloat, doing what I do. But I find it pleasurable.
I love caper films.
I think I'm good at amplifying an actor's strengths, and minimizing their weaknesses. And they all have strengths and weaknesses.
I think it's healthy to jump around a bit - at least it is for me - to try and do something different each time out.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.
I'm very comfortable with failure. I'm very comfortable being the guy who disappoints people.
In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
In terms of directing, I think it's getting harder for me to come up with ideas that by my standards are interesting.
It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.
Lying is like alcoholism. You are always recovering.
Making a film that's supposed to be fun to watch is really hard - that's the weird irony of it.
Maybe I'll paint, do photography, just something else. I can see that.
Reality shows are all the rage on TV at the moment, but that's not reality, it's just another aesthetic form of fiction.
The great thing about the business is how Darwinian it is. We have to swim or die - if you are found wanting over a period of time, you've either got to change what you're doing or find something else to do.
The key is, if you're not monkeying around with the script, then everything usually goes pretty well.
The ought to be a worldwide cultural taskforce that just stops you when you have ideas like combining The Red Desert with an armored car heist movie.
There are three major social issues that this country is struggling with: education, poverty, and drugs. Two of them we talk about, and one of them we don't.
To me the director's job is to leave it in better shape than you found it, literally.
Traffic is about drugs. As detailed a portrait as I can muster about what is happening in the drug world, from top to bottom, from policy to how things move on the street.
Warner Bros. has talked about going out with low-cost DVDs simultaneously in China because piracy is so huge there. It will be a while before bigger movies go out in all formats; in five years, everything will.
Well, it's 15 years since Sex, Lies And Videotape, and if you hang around long enough you're having the same arguments with just a new set of people every few years and it gets boring.
When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.
When the changeover from film to digital happens in theaters in five or 10 years, you're going to see name filmmakers self-distributing.
When things go right it's hard to figure out why, but when things go wrong it's really easy.
When you're sent something and read it, either you can see it while you read it, or you can't.
He frequently casts Julia Roberts.
Together with friend George Clooney, who appeared in his movies Out of Sight (1998), Ocean's Eleven (2001), Solaris (2002) and Ocean's Twelve (2004), owns the production company "Section Eight Productions", which produced Christopher Nolan's _Insomnia (2002)_ , among other films.
He was elected lst Vice President of the Director's Guild of America in March of 2002.
He became the youngest winner ever of the Palme d'Or at the 1989 Cannes Film Festival for Sex, Lies, and Videotape, his feature film directorial debut at the age of 26.
He's of Swedish descent.
He took some classes at Louisiana State University.
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