I look for absurdly simple plots so that I can simply focus on the characters. Having an understanding of what dialogue's easy to say and hard to say - I think that that's helpful, too.

I think that marriage of music and picture is so vital, especially in a film that's almost exclusively exteriors.

I throw as hard as I can when I think I have to throw as hard as I can.

I think fearless is having fears but jumping anyway.

I think 'In The Heat Of The Night' was one of the most influential films on me. Looking back now, I can see how influential it was on my screenwriting because here you have what looks to be a crime procedural, and it's actually a study in race and loneliness, and a perception of an era.

I had to push exposition through dialogue, which is really, really hard for an actor do.