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You Use Elements Of Noir, But You Don't Want It To Be Too Noir-ish. You Don't Want It To Be Advertised As Though You're Asking People To Go And Watch An Updated Noir. I Don't Think They'll Go Do That. They Want To See A Modern Story.

Both Of My Sisters Have Been Teachers And They Used To Say You Get Asked Between 300 And 600 Questions Every Day Which You Have To Answer. That's Exactly What Directing Is. And The Vast Majority Of Those Questions Are Not Very Interesting Really, But They Need Somebody To Make A Decision - A Good One Or A Bad One - And They Follow It.

The Most Extraordinary Thing, You'd Be Given Permission For, And Then The Weirdest, Simplest Things, You Just Wouldn't Be Able To Obtain Permissions. And It Would Go On And On And On Forever And Ever, And There Was No Way To Know. You Have To Kind Of Approach It With An Open, Quite Optimistic Mind, No Matter What's Thrown At You, Because It Will Only Ever Result In Damaging The Film If You Let Any Kind Of Despondency Get To You.

Everybody Knows Aaron Sorkin's Scripts. There's A Huge Amount Of Lines. There's A Huge Amount Of Interchange. You Gotta Do A Lot Of Learning To Be Able To Get It Up To Pace.

What You Do Is Take The Power [popularity] Gives You - Which Is Very Temporary And Minor But Significant - And Use It. The Danger Is That You Use It On A Vanity Project That No One Wants To Watch.