I'm always secretly the most pleased when a show just really, really looks good and when my camera guys are really happy with the images they got.
There was a point when dancing to music became cheesy after the boy band era of NSync and Backstreet Boys, but there were always those who craved that kind of visual satisfaction. K-Pop really filled that void, because it's so geared to spectacle.
I'm artistically satisfied and happy.
The problem with my eyes is that they have been famished, but now they are feasting.
Television is chewing gum for the eyes.
When I've painted a woman's bottom so that I want to touch it, then [the painting] is finished.
The eye must be easy, before it can be pleased.
I love movies and I like a lot of good television. At the end of the project, I don't care if they changed [it from the book], I just want to look at it and go, "I loved that. That really turned out well."
And when you take something like the changing colour of autumn leaves and start to ask why, you're starting off on an intellectual journey which will take you beyond that moment of visual satisfaction, while robbing nothing from that experience.
The hunger of the eye is not to be despised; and they are to be pitied who have starvation of the eye.
Why should the eyes be denied what delights them most?
But the eyes, though they are no sailors, will never be satisfied with any model, however fashionable, which does not answer all the requisitions of art.
The appetite starts with the eye.
My goal from the very beginning was to make very visually lush, juicy films that you can really sink your teeth into. That's always been part of my modus operandi.
I make something I can look at and say, "That's a good piece of work, and there's some terrific directing and acting in it, and you should be proud of it."
