I maintain that no movie can be funny enough. I mean even the most serious, even the most intense movie and I know enough about life to know in those dark moments inevitably someone will say something funny and I will be part of the whole experience.

I think one of the privileges of being a filmmaker is the opportunity to remain a kind of perpetual student.

I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.

There is a segment of the American population that has been excluded from the national myth, and that should be redressed.

However much I may like to talk about or be interested in a more philosophical or moral agenda, [film] is, ultimately, about narrative. And it's about telling stories that are engaging and dramatic.

You do these movies, you give it out to the world and you really have no idea how people are going to react to you.

To make a great movie is such a combination of different things that need to come into play to actually make a memorable film and not have a film to fall by the wayside, to have something live on during the years, and one of those elements is the commitment the actors have to their performance.

Samurai culture did exist really, for hundreds of years and the notion of people trying to create some sort of a moral code, the idea that there existed certain behaviors that could be celebrated and that could be operative in a life.

I never thought about that ever throughout the entire course of my career about choosing a specific role because it would make me seem more man-like.

I don't think movies can ever be too intense, but people have to understand why you're showing them the things you are showing them.

I look at modern life and I see people not taking responsibility for their lives. The temptation to blame, to find external causes to one's own issues is something that is particularly modern. I know that personally I find that sense of responsibility interesting.

It seems that almost every time a valuable natural resource is discovered in the world-whether it be diamonds, rubber, gold, oil, whatever-often what results is a tragedy for the country in which they are found. Making matters worse, the resulting riches from these resources rarely benefit the people of the country from which they come.

To me this movie is about what is valuable. To one person it might be a stone to someone else, a story in a magazine to another, it is a child. The juxtaposition of one man obsessed with finding a valuable diamond with another man risking his life to find his son is the beating heart of this film.