I really look for peak experiences and dramatic material that can allow peak experiences.
Character and emotionality don't always have to be relegated to quieter, more simple constructs.
I like high impact movies.
One of the elements in the film that really fascinated me was not to look at the world in bi-polar terms of us vs them or east vs west, which was a by-product of the Cold War.
Our film examines the heroism, courage and prowess of the Soviet submarine force in ways never seen before.
The Communist regime didn't consider this to be a shining moment in history and assigned no heroism to it. They classified it as merely an accident.
The urge to purge the material I come up with is, I guess, an ongoing process.
There should be more women directing; I think there's just not the awareness that it's really possible.
When I made my first film, I didn't think of it as directing, so it wasn't like I set out to become a director.
When James Cameron brought me the script, which I developed with both Cameron and Jay Cocks, I wanted to make it a thriller, an action film, but with a conscience, and I found that it had elements of social realism.
War's dirty little secret is that some men love it.
I suppose I like to think of myself as a film-maker.
I'm drawn to provocative characters that find themselves in extreme situations. And I think I'm drawn to that consistently.
There's a conventional reaction when you see a star: You anticipate he'll be a part of a particular denouement down the road, so you don't worry for that character.
I do have to say I have been very fortunate.
I've always developed all my own pieces, and they're time-consumers.
You only have so much money to shoot a movie with.
Jordan is a very secular, Westernized country in some respects.
For some individuals - some soldiers, some contractors - combat provides a kind of purpose and meaning beyond which all else potentially pales in comparison.
The journey for women, no matter what venue it is - politics, business, film - it's, it's a long journey.
