This new global economy, it's all based on the sea routes.
I spent my 20s making film after film, often in very adverse conditions. You'd fly back from somewhere - Beirut, the Falklands, South Africa - on Saturday, and you'd have 24 hours to cut your film, and it would go out on Monday night.
Speaking personally as a filmmaker, I think encoded in Bond are a series of values about Britain, about the world, about masculinity, about power, about the empire that I don't share. Quite the reverse. Whereas in Bourne, I think encoded is much more scepticism. There's an us and a them, and Bourne is an us, whereas Bond is working for them.
I always tell young film-makers, 'Find the song that only you can sing.' It doesn't just come to you. It's trial and error and disappointment before you find, slowly but surely, the confidence to express your film-making identity.
I don't storyboard like some. I mean, all directors are different. I plan meticulously - really meticulously.
Making movies is both entirely ludicrous and incredibly hard. It's a preposterous way to spend your time. You give up a lot for the privilege of doing it, and one of the things you get are relationships of immense trust that you see forged in situations of immense stress.
Remembering is painful, it's difficult, but it can be inspiring and it can give wisdom.
In the end, it's acting, it's not real. But every director will tell you that you have to create conditions that create tension, because tension is what makes drama feel real.
The people who went on that airplane were unexceptional.
Why are people saying it's too soon? Like the people on that flight, we need to agree about what to do about terrorism. And I think we need to have that conversation now.
To make a film is eighteen months of your life. It's seven days a week. It's twenty hours a day.
Tom Hanks has built his career playing ordinary men.
Making a film, every film, is a big gamble, large or small. The more that you do it, the more you're aware of that.
With a franchise movie, it's got to turn the wheels of the industry, and the studio has to have them. So you start with a release date. They say we're going to make a new 'Bourne' film, and it comes out summer of X. Then they start on a script, and invariably, the script is not ready in time.
In my little imperfect way, what I'm trying to do is understand the world. As a filmmaker, you realize as you get older that each film is part of a dialogue you're having with yourself. That started when I was working in documentaries. And in a way, I've never deviated from it.
It's a circus life, the movies. It's a lot of travelling, a lot of antisocial hours; there's a lot of it that's about escaping from life.
Directing is all tied up with childhood loneliness. It's such an odd thing to end up doing.
I'd always suspected my face wouldn't fit in drama departments. And it never did!
I just don't get on with institutions. I need simple relationships with people who believe in me.
Studio people are bright. Empowering. They don't want to have to interfere creatively. That's their horror story, too.
