There's a weird intellectual approach to filmmaking, where I pose a question to myself and use the film to try and answer it.

Normally, the action is just a gratuitous thing. In the case of Bourne, he was going to learn about himself in the action scenes.

I've really pushed the limits of what you can get away with at big studios, and I've been extremely well-supported.

Amazon may be the only studio that's run by people who come out of making independent movies, real hands-on moviemaking.

In hindsight, everything in my life looks a little rosy. But the reality is that with, say, 'Swingers,' when we finished, it was considered a total failure.

I always wanted to make a 'James Bond' film, and they only seemed to hire British directors, and I'd made 'Swingers' - they were never going to hire me for a 'James Bond' film off 'Swingers.'

I didn't grow up like Quentin Tarantino, watching esoteric art films at the video store. I'd go to the multiplex and see big, mainstream movies, and I'd go, 'I want to make one of those one day.'

'The Wall' is a reaction to 'Edge of Tomorrow,' where I was like, 'I don't need time travel and aliens to take a hero and pin them down in an impossible situation. I can do it in a much simpler way.' And that was 'The Wall.'

I have to have a passionate connection to my films, which I do with 'Justice League Dark.' I have a way into the story that's personal, the way I have a connection to 'The Wall.'

Aaron Taylor-Johnson and John Cena, in 'The Wall,' are superheroes. They're very grounded, but the amount of training and stuff that soldiers bring to the field, they're like Iron Man.

I always liked photography in film - I studied photography growing up. I like the medium of film; I like physically holding 35-mm film. I like the way it looks, the quality when it's projected. I like the way it frames real life.

So many of Spielberg's films inspired my imagination growing up. And then there are British films like 'The Full Monty' and 'Waking Ned Devine' that took me to places I really loved, with characters I just thought were amazing. But the films of Luc Besson showed me France - a really cool side of France.

I've got a short attention span, so it makes sense that I like movies because, for the most part, they immerse you in lots of action.

I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'

When you have films like 'Bourne' that succeed, not only does it beget sequels, but it begets people taking chances.

I have a rebellious nature, and being told no is almost the surest way to get me to do something.

Ultimately, if you look at the characters in my films, you'll see a lot of similarities going all the way back to 'Swingers' with Vince Vaughn's character.

A movie like 'Edge of Tomorrow' is so huge and complex - the spectacle and action is all-consuming - and that on its own is enough of a reason for a lot of people to see it.

I don't necessarily think that having more money helps make you make a better film. Sometimes having less money is better. You're forced into being more original; you're forced into hearing something versus seeing it.

I think of myself as making independent films within the studio system. Yes, I've made movies with significantly larger budgets, and I've also made movies with smaller budgets.

The reality is, the movies that were most impactful to me growing up, when I decided I wanted to make movies, I was going to see Woody Allen double features with my brother, back when they had double features.

I'm really drawn to adventure, and characters being plucked from normal life and sent on extraordinary adventures.

'North by Northwest' was a big influence for 'The Bourne Identity.'

I love 'Bringing Up Baby.' Anything that Katharine Hepburn's in. I'm committed to the Humphrey Bogart, Cary Grant, Katharine Hepburn era of filmmaking.