Warner Bros. has talked about going out with low-cost DVDs simultaneously in China because piracy is so huge there. It will be a while before bigger movies go out in all formats; in five years, everything will.
The ought to be a worldwide cultural taskforce that just stops you when you have ideas like combining The Red Desert with an armored car heist movie.
But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.
I think I'm good at amplifying an actor's strengths, and minimizing their weaknesses. And they all have strengths and weaknesses.
I had more fun making Traffic than either of the Ocean's films.
Reality shows are all the rage on TV at the moment, but that's not reality, it's just another aesthetic form of fiction.
Lying is like alcoholism. You are always recovering.
Making a film that's supposed to be fun to watch is really hard - that's the weird irony of it.
I like to make all kinds of movies. I'd do 'Ocean's Thirteen' with the right script.
There are three major social issues that this country is struggling with: education, poverty, and drugs. Two of them we talk about, and one of them we don't.
When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.
To me the director's job is to leave it in better shape than you found it, literally.
I'm sure some people will say, 'Why do this?' And my response is, 'Why wouldn't you?' The film business in general is using a model that is outdated and, worse than that, inefficient.
A movie that costs only $1.6 million doesn't have to be a cultural event to turn a profit.
I'm very comfortable with failure. I'm very comfortable being the guy who disappoints people.
I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.
I love caper films.
I just produced Criminal, this remake of Nine Queens, and one of the things that appealed to me about Nine Queens is that it was a performance piece, and that's the most fun.
I guess why the Ocean's films are hard for me is because on the one hand you have to make sure the performances are there, but on the other hand it's a film that demands, to my mind, a very layered and complex visual scheme. That takes a lot of time to figure out.
In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.
I know why we can't have a frank discussion with our policymakers - if you're in the government or in law enforcement you cannot acknowledge that drugs are anything but inherently evil and morally wrong.
Well, it's 15 years since Sex, Lies And Videotape, and if you hang around long enough you're having the same arguments with just a new set of people every few years and it gets boring.
The great thing about the business is how Darwinian it is. We have to swim or die - if you are found wanting over a period of time, you've either got to change what you're doing or find something else to do.
I look at other filmmakers and see skills in them that I wish I had but I know that I don't. I feel like I have to work really hard to keep myself afloat, doing what I do. But I find it pleasurable.
When you're sent something and read it, either you can see it while you read it, or you can't.