I went to USC film school, briefly, which is a very traditional film school.

I do take things away from reading reviews. I think they keep you honest.

I subscribe to the school that there are no dumb questions.

I'll just say that there are certain people who continue to be hired in Hollywood, and that leaves me truly shocked.

I started making Super 8-mm films when I was about six years old and just never stopped. It was always just a hobby, but it's one of the few hobbies that can actually become a career. You know what? I think it was my plan from when I was six that this is what I was going to do.

The 'Bourne' franchise means the world to me. I love that Universal wants to put one out every two years. Because it is a safe investment, I benefit from that on many levels.

We love movies like 'Edge of Tomorrow.' It's why we go to the movies, and it's why we make movies.

Even more than 'Swingers,' 'Go', for me, defines my career.

The system did not want me to make 'Go.' And I sort of stood up to the system and made the movie I wanted to make, and the fact that I did that and I'm proud of the movie means I'm really proud of myself when I look back on that.

I had one scene in 'Invisible' with 12 actors delivering dialog at the same time.

I can't impress people with the pedigree of obscure French filmmakers that got me into film. It was Robert Zemeckis and Steven Spielberg. I really thought I wanted to make dumb action movies.

I live in New York City, and I'm making huge action movies. The people that make huge action movies live in L.A., and they're surrounded by other people who make huge action movies. I'm surrounded by people making documentaries!

My older brother took me to Woody Allen double features when I was still teething.

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.

I had just come off doing a lot of commercials when I did 'Go,' so a part of the fast pace and efficiency comes from the discipline I had to learn from telling stories in 25-second increments, and that type of discipline is insane.

I understand that it's a huge luxury for people to dwell on the problems in Washington. Things have to be pretty tidy in your own life that you have the time to worry about what's going on in Washington. Most of us spend our time worrying about the things that are directly around us: our love lives, our careers, and our banking accounts.

I always wanted to make big action movies as a kid, and that was my dream. In a way, 'Swingers' was the thing I suffered through the most doing because of all that dialog, so I could eventually be allowed to do a big dumb action movie, honestly.

I think when the United States of America put a man on the moon in 1969, that was one of the greatest accomplishments mankind has ever done.

Somehow super power and hero are so synonymous that they get combined into one word, 'superhero,' whereas I'm kind of more interested in separating those two ideas out. You have characters with super powers who may or may not be heroic, because human beings aren't all heroic. I tend to be drawn to antiheros.

I think making a great action movie is one of the hardest cinematic endeavors. By definition, smart characters avoid action. Smart people don't go down dark alleys, but if you're making an action movie and you want to have an action sequence, somehow you have to get that character into that dangerous situation.

In particular, I'm drawn to the stories that have big, high concepts and real characters at their heart. And I love where those two worlds meet, and 'Edge of Tomorrow' is the perfect canvas to explore that.

Finding original source material is not easy, but when something special like 'Edge of Tomorrow' comes along, everybody recognized it. I wasn't swimming against the stream. Warner Brothers immediately supported it, Tom Cruise signed on instantly; Emily Blunt, who was our first choice, signed on immediately.

'Mr. and Mrs. Smith' - every scene is from those characters' point of view. They're in literally every scene, very unusual in a big studio film.

My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.