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

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.

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

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.

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.

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

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.

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.

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 like doing violent movies.

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

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

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.

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

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

What's really amazing is that the showrunner who really got me my start in TV is Andrew Kreisberg. He brought me on to 'Arrow,' and he tracked me down because he was a fan of 'Punisher.'

When 93 percent of our stories are told by white men, it's an issue. And if those white men go on and tell the stories the way they see their world, which is all white, then it's an even bigger problem.

Why is it when we see a white guy, we automatically think, 'Let's turn this dude into a star?'

It's very hard to shame people in Hollywood into anything because they don't often feel that kind of shame.

I was pretty certain I'd stay in TV rather than returning to the feature world because the material just seems so much better in TV, especially in drama, but then 'Crossface' came my way. A heartbreaking, true story about the dark side of wrestling... I couldn't say no to that.

The people at Cabot Guns are a rare breed of geniuses and artists in a vast gun world.

I was nominated for a live-action short-film Academy Award in 2003.

I swear, if anyone near me even so much as whispers the sentence 'Women probably don't want to direct,' my fist will fly as a reflex action.

When I was nominated for an Oscar and seated next to Martin Scorsese, there was nothing in my mind that made me think, 'Hey, in three years maybe I'll make another remake of 'Punisher.''