[on Focus Features] - Focus has a very specific place in film's cultural landscape. It's a place where voices from outside the mainstream speak, but they're speaking face-forward to the rest of the culture. Our zone is very specific. You take really original voices, but you're speaking the language that a lot of people can understand. My own taste often veers into the most obscure and heavily avant-garde around; I find that those films are to me inspirational and important and it's important that folks like me in the business engage and think and cherish avant-garde film.

... where I sit, and where Focus sits, is in a very different place, taking artists like Gus Van Sant, who will never lose their independent streak, but when they're making a movie here are speaking a cinematic language that can be understood by an audience that will be interested. It doesn't have to be a mass audience. The line I use is, "The only way you know it's a Focus movie is if the vast majority of humanity is going to hate it!"

[on dealing with failure at Focus Features] - ... We have our post-mortems, (but) I think it's often a big mistake to have them (quickly). I'd rather wait through the video release. Then people have real perspectives. Everyone at the company is invited and we talk about the challenges, how they were met, how they were not met, and what you learned. People are extremely honest, and everyone is listened to. It's part of the culture of the company. We really want to learn from each other and learn from our mistakes. But one of my mottoes is, "Don't learn too much from your mistakes in this business."

[on how he writes] - Basically, wherever, whenever and however. I can write by getting up early or staying up late or going to the country and taking a day off. "Lust, Caution" I wrote literally between meetings at Cannes.

[on if being busy affects the quality of his work] - It sure can, sometimes. For me, most of the work is done taking walks, or looking out the window, or sitting on the subway. Before I put finger to keyboard, you have to have that reverie and freedom. If you're too crowded, if there's too much stress, too much going on, it can have a negative impact. On the other had, there's truth to that phrase, if you want something done, ask the busiest person you know. When you get in a groove, it's actually incredibly fun to be able to literally swivel the chair around and just go, "Wow, it's happening, I can feel it!" But in general, I try to hide.

I make as many bad movies as a big studio. But when they make a bad movie they spend forty to sixty million telling everyone about it. When I make a bad one, it gets a round of applause at a film festival.