Trust me: you make a movie about time travel, and you know for a fact humans will never travel through time. The paradoxes that come up just from trying to tell a story with time travel really illuminates the fact that it's impossible. It will never happen. We can barely get through a movie that involves time travel.

If you go to a restaurant with Tom Cruise, it's like walking in with Santa Claus. Everybody is in a better mood because he's there.

The thing about TV is it's a meritocracy. I love that aspect of it - and I've had shows that have gone on the air and been canceled. I've seen the good and the bad of it.

Almost anything can be justified as a style of filmmaking if it works.

The more real I got on 'The Bourne Identity,' the more interesting it got. So 'Fair Game' was the chance to go a few more steps in that direction. In fact, I discovered this whole other world that I had ignored in the 'Bourne' franchise, which is the domestic life of a spy, and how you make the two halves of your life coexist.

When I was shooting 'The Bourne Identity,' I had a mantra: 'How come you never see James Bond pay a phone bill?' It sounds trite, but it became the foundation of that franchise.

To be honest, when I started watching VR content, I was mostly disappointed and thought people could do better - not that different from when I set out to make 'Swingers' and thought, 'There's a better way to make an independent film.' Which is why 'Swingers' ended up being so much less expensive than anything like it.

With VR, you are directing in a 360-degree environment. The biggest challenge is that the viewer can look anywhere. They might look at the the weakest moments, the very things you edit for TV. You don't control where they look.

All of my fellow directors, I think, would agree that in whatever medium you are working, the challenges and obstacles push them to be more creative. That's the case with VR.