I probably shouldn't treat interviews as therapy sessions, but I don't keep a diary, so these end up being my way of keeping track of where I'm at and letting it all out.

The movie I end up with is the movie I aspired to make.

Painting is just another way of keeping a diary.

That's why 'The Bourne Identity' has that sort of shaky style, because for the most part, Matt Damon and I were sneaking around Paris and shooting where we didn't have permits.

It's no secret that my process is a little bit loose and can be a little bit infuriating to a studio if they don't know what they're signing up for.

My dad couldn't connect to my wanting to be a filmmaker. He was very connected in entertainment, and through him I met Steven Spielberg and got rides on his private plane to California. I'd see Spielberg's people reading scripts. I was like, 'That's what I want to be when I grow up.'