Back to the painting of the Sistine Chapel, there's always been run-ins between benefactors and artists.

It would have been the equivalent of Jackson Pollock's attempts to copy the Sistine Chapel.

To see talented people in roles that others might not see them in, to see how they might fit in the puzzle of the cast, has always been something that I've been good at. I think that if you look at the successes of my films and start to peel them back, there's usually a really smart casting decision that has gone into that success.

I've been fascinated by the world ever since I read 'Kitchen Confidential' by Anthony Bourdain. I've watched 'Top Chef' and watched interviews with chefs on 'Charlie Rose'... I thought they're really intriguing characters, and they really encapsulate that tension between vision and commerce, art and commerce.

When I started out, I wanted to paint the Sistine Chapel. But I didn't have the content.

One can easily tell that the creator of the paintings in the Sistine Chapel was above all a sculptor.