Whenever I go on a job interview, I always recommend Rachel Talalay. I love her.

I think we need to stop looking at the file-sharing community with disgust and instead ask ourselves what we can learn from them.

The criminalization of file sharing is pathetic. It's so pathetic, it's almost funny. Imagine if the radio people would have lobbied for a federal law enforcement agency to raid all homes for illegal transmissions of moving picture experiments in order to stop the invention of television. It's ludicrous.

Money spent by Hollywood to fight piracy: hundreds of millions of dollars.

I love hand-to-hand, and I love putting on these fights; that's the background I come from.

I like doing violent movies.

Everybody likes to drink a Coke once in a while; it's when we run out of everything else to drink and we're only left with Coke that we need to start worrying.

I got to know the world of football fans and their pride in it, how they would find a family away from home. Most of them came from broken families. It always had a bit of romance to me, when I went to the game with all these boys that would just die for each other.

I am strangely attracted to the hooligan crowd. I find them actually less dangerous than some of the people I work with now in Hollywood.

Please dox me. You don't even need to dox me - I'll give you my address and wait for you by my doorstep.

People have to fix whatever bias they have, and I see this bias consistently, all the time, towards women directors. They're just not being trusted with action.

There's a lot of talk now about the PC police, and 'why is everything bad?' It isn't. What it is, is that marginalized and oppressed people who have never had a soapbox, who have never been given a microphone, suddenly have a microphone.

I have a lot of guy friends, from martial arts and film, and soccer. I actually barely know women.

As a director, you need the Saul Zaentz type of producers. Zaentz was a guy who literally capped the storm outside of the director so that they could do their job. That's a great producer.

If someone is poor in India, they should be able to watch the same films as rich people.

When a male stunt performer falls down a flight of stairs, he has a lot of clothes on and can wear all this padding. But because actresses never have a lot of clothes on - they are always falling in their underwear - you can't wear any padding whatsoever.

You cannot make a living doing independent films.

In my other work as a self-defense instructor, I have taught the importance of listening to one's gut instincts.

It never occurred to me that artists, of all people, have to be reminded that instinct is more important than tradition, but in our industry, people seem to forget that sometimes.

It's one of my obsessions to come up with ways to reimagine establishing shots in new, non-boring ways. Shots that have energy and excitement.

Hollywood is silly sometimes.

When I first arrived here, after spending years as a competitive fighter and training U.S. Marines in hand-to-hand combat, Hollywood is the last place I would have expected to find such blatant bias and discrimination.

There's something not right with a person's soul when they judge another human being to be less adequate because of their gender or skin color.

Being half-Palestinian comes with its own challenges, especially after 9/11 and also, working in Hollywood. But denying my own father, the three siblings I have on my father's side, I would essentially be destroying my own essence. So I decided I'm going to be me.

I think I have a responsibility as a film-maker to bring not only controversial subject matter to the screen but also to inspire a thought process.

You can be Michael Moore and make 'Fahrenheit 9/11,' but that's hitting people over the head, and a lot of Americans don't like to be hit over the head. I want to make films that make people walk out and say, 'Wow, I really question if this is all right.'

There are only two kinds of people who are successful at this social media thing: those who are funny and those who get real.

Women in Hollywood have no male allies. There are some who pretend to be on our side, but yeah, not really. They may say the right thing because, after all, they're liberals, and that's a public image they'd like to keep up.

Truth: I loathe the idea of being hired because of my gender, and I shudder at the thought that one day I show up on set, and half of the crew thinks, 'Here comes the quota hire.'

The thing about TV is that it's great work for directors because the responsibility is not ours at all. In a movie, you choose a movie, and everybody points his or her finger at you afterward. It doesn't matter how much influence you had on the script, how much decision you had, or the fact that you didn't have final cut.

I've pitched movies to all of the major studio heads in my time.

When I first made 'Green Street' and I was considered a hot director, I pitched everybody, but there was always this feeling that I was being underestimated in the room. I pitch TV, and nobody underestimates me. They literally think you could be the next whoever, and that is a very cool thing.

In terms of writing and developing, TV is very open because TV needs stories. They need new pitches, and they need new ideas. They don't always take the risk for new ideas, but they are certainly open to it. They can't have enough people come in and pitch to them. It doesn't matter how they look or what gender they are.

Although I'm aware of how under-represented we are, I sometimes forget how desperately Arabs who aren't in the film business wish for better stories about us.

If women choose guerilla style filmmaking or new media productions, etc., all power to them. But if they're there because 'Big Hollywood' won't let them in, then we're moving further and further away from equality.

As someone who grew up in Europe, I don't look at TV and automatically think of a primetime network series, created by a staff of writers. I think of 90-minute movies that can break talents out or a three 90-minutes-an-episode mini series that can introduce a fantastic new series like 'The Blechtley Circle.'

2015 was an interesting year for me. After finally getting back behind the camera at the end of the summer to shoot the CW's 'Arrow,' I found myself a couple of months later in a federal building in downtown Los Angeles, trying to convince half a dozen security guards to let me make my EEOC appointment despite my expired driver's license.

It's almost comical how un-liberal liberal Hollywood is when it comes to fighting gender and racial bias.

One of my short films was about a boxer.

Football is a great environment for a movie because there is such passion for it and so much adrenaline.

Dominic West is one of the greatest actors.

I'm not a very girlie girl.

You can't find jewelry on me.

I focus every day on my career.

My brother took me to my first football match when I was five, and I quickly acquired a passion for it: once you've walked into a football ground, you know there's nothing comparable to it.

There was a choice of being a director who's more familiar with the technicality of doing a movie, like learning about the camera and filters and setup, or being a director who can actually talk to actors. And I always wanted to be an actor's director.

The great thing about a reboot is, you can learn from the past if you care enough.

'Deadpool' is massively successful because they made a very unique movie. That uniqueness and originality, try to imitate that. Not, 'How about let's try to do 'Deadpool' on a train.'

I really like Greg Rucka's work. I loved 'Lazarus,' and I loved 'Stumptown.'

I don't like seeing talented storytellers ruled by fear.