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Think about a guy like Bob Mitchum, with his kind of chest gut not defining itself one way or the other. Was there anybody tougher? Lee Marvin was a marine sniper during the Second World War. They had this sense of themselves, and they had this product of being a man in a masculine way.

I'll spend the rest of my life chasing that feeling I had on 'The Grey,' because I think we're all aware that, first and foremost, we were having an adventure, and we were also making this movie at the same time.

I got 'The Grey' made because Liam Neeson wanted to make that movie.

I have a very warm feeling about Kickstarter 'cause I think it's the best of what we can be. It's people who actually help out our fellow artists. We actually kind of go into our pocket for something. It's very rare.

In TV, you can carve out a beautiful little niche like 'Breaking Bad' did. Like 'The Wire' did. Like 'Homeland' did.

I don't conduct my career for when I'm dead and people say nice things about me. I conduct my career for the here and now, and what excites me, and what interests me.

Regardless of the medium, be it television or feature or documentary, I'm not gonna distinguish and worry about my particular canon, whatever that means.

I guess I much prefer the path of the contrarian: the guy who goes against the grain a bit. The careers of the people who I admire deeply - like the Coen brothers and Soderbergh - don't repeat themselves, and they make radically different films at times, and I think that's wonderful.

I don't know if I'm the most religious guy, but I think I'm a spiritual man, and these are the things I think about a lot. In terms of the film, I think 'The Grey' is very much a non-denominational kind of film. I don't think it's something that relies on a particular religious bent to tell the story.

I hope I can become a good enough filmmaker where I can take a script that I'm not 'heart and soul' into, but I could still make something really great out of it.

There's a vast difference between marketing a movie and the movie itself. You try to cast as wide and broad a net as possible.

'The A-Team' compared to making 'Narc' was a breeze. There's a whole other skill set and whole other kind of bone structure that goes into making a movie like 'Narc' versus 'The A-Team.'

I obviously love 'The Grey'; that was a pleasure to make. It was also very difficult. Listen, I love 'Smokin' Aces.' That was a lot of fun to make. Completely different part of your brain, I guess. Some would argue the part that they don't want you to use.

It's like I don't have any one genre, I guess. I think you'd be hard-pressed to get me into a rom-com, but who knows?

I always look for... hopefully look for a challenge. And you're always looking for the next summit to hit. Even if it's a personal one. It needn't be some great sense of monumental... It just has to be important to you and big enough and special enough and individual enough that you get up for it. And that can be anything.

I did a pilot for Fox years ago called 'Faceless,' with Sean Bean. I always thought it was such a cool show because it was really raw. I thought we were pushing it. This was back at a time before there was the 'cable standard.'

'The Blacklist' was really right place, right time. I read the script and met with Jon Bokenkamp, John Eisendrath, John Fox and John Davis, and we just hit it off. They understood that I was not so much trying to adapt to television, but adapt a cinematic style to the things that we were gonna do.

In terms of big spectacle, I thought 'Captain America 2' was phenomenal. I really loved that movie, and it was a great movie as a stand-alone.

On 'State of Affairs,' we're going after some names that you wouldn't think would traditionally do TV. A show that shoots in Los Angeles is such a rare bird in hand that I think we're gonna have the pick of the litter.

Be open-minded and available to everything and not just saying it's Jesus Christ or bust. So much of the world will do that. I find it troubling... Don't be dogmatic.

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