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My father was a fighter pilot, so I moved around the world when I was young. Then I ended up in Kansas. I'd just sort of gravitated toward the arts, and I had always loved music and really loved theater even though I didn't want to act.

As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together. This happened in 1989. Since then, it's been a long road of educating myself in every possible way.

I think making a film that you think is good and you believe in is going to be difficult forever.

I can't stand characters with contradictory information.

I have a long love of superhero films, and I'd been saying over and over again to my agents at CAA that I'd like to do one.

Hollywood can't stand heroes who aren't sympathetic.

Movies always had a captive audience, so they were able to do deeper, more complex things. Television was always about, 'Look at me now! Look at me now! Now go away!' That's starting to change.

I was a closet Journey fan when I was growing up.

I try not to buy into that whole, crazy 'you are what you drive' mentality here, but I wouldn't want to be seen in a Ford Fiesta - you know what I mean?

It's rare that a character film is easy to fund.

I have a real pet peeve for women who play damaged characters but don't look damaged.

There are a lot of pretty actresses in Hollywood who try to act tough, and the audience laughs.

It's been my experience with damaged people: they don't wake up every day and wallow in the bad things that have happened to them.

Strangely, I have a huge aversion to movies that try to teach healthy people an abusive lesson about the darkness in the world.

Frankly, I like DVDs having lots of things on it, but I have issues with it as well, too.

The need to look behind the curtain is great for a filmmaker. But whether you want to deconstruct what you like as a viewer, what you like and don't like, I wish we could let films stand on their own a little bit.

I have more information than anybody's ever had about this case. I have 7,000 letters from Aileen Wuornos and all the letters between her and her girlfriend.

If a film is based on a true story and you don't use anyone's name, you can do what you like.

De Niro didn't gain all that weight to play Jake La Motta just to prove he could get fat - every single one of those transformative things is grounded in the character.

I know that a man's version of a tough woman is very different from a woman's version.

When people are crass or loudmouthed, it's not because they don't give a damn. It's from fear and insecurity.

I had to adapt to other worlds, and that helped to educate me that we are all basically the same.

That was devastating to me: how a bright, energetic kid could turn doomed and desperate.

I think that, for whatever reason, we've gotten to a place where, particularly in Hollywood, things have to be very pat. Like 'I'm a good guy. I'm a bad guy.'

I'd spent summers growing up in Mississippi, so I had an idea of what the South is like.

It's not palm trees and neon signs in Florida; it's strip malls, highways, hot sun beating down on you.

You do what you believe in.

We're all always wondering about our own limits, what we're capable of.

Hollywood is driven by beautiful faces. Always has been.

Any sympathy won for Aileen Wuornos based on a lie is not sympathy at all. The question is, can we have sympathy for the circumstances of someone's life? That's what I was interested in.

Making a movie is such a huge commitment of emotion and time that I didn't want to be beholden to doing it for money.

My father was a fighter pilot, so I moved around the world when I was young. Then I ended up in Kansas.

I'd just sort of gravitated toward the arts, and I had always loved music and really loved theater, even though I didn't want to act. For some reason, being in Kansas, you can either be a graphic artist or a visual artist, so I decided, 'I guess I'm going to be a painter.'

As soon as I went to painting school in New York, I took an experimental film course, and everything clicked and came together. I realized my love of music and drama and the visual arts all came together.

I've been influenced by a lot of films. And a lot of them are the typical interesting, artsy films. But I haven't talked enough about how there are those few big blockbusters that really rock your world.

Superhero movies are so famous because of the metaphor that they trigger in one's self about who you could be if things were different.

To be a director, you need to be reliable, on time, confident, calm, all of those things you see demonstrated in the military.

It's not about superheroes. This is the method of universal storytelling that all people have... To me, they're the same as the Greek myths or the Roman myths or religious figures of every religion. These are common characters that we use to express stories about being a better person or what you would do when faced with various things.

I want to make great films in my lifetime, and I really want to make a great film about Wonder Woman.

Being the person who gets to make a movie about Wonder Woman, of course, I take that incredibly seriously. I am a huge Wonder Woman fan, and the aspiration comes totally naturally to me.

Who should make a great movie about Wonder Woman? It should be somebody who loves Wonder Woman. And I know that I'm that. So let's go and try.

A woman doesn't have to direct a woman's film and a man doesn't have to direct a man's film; otherwise, where would we be?

There's an idea that action movies are more attractive to one gender than the other or different kinds of people or whatever. The truth is action is not any different than any other part of a story.

Every villain has their belief system that makes perfect sense to them.

I remember when I read in the news that 'Wonder Woman' had been cast, and my heart sank. I had been talking to the studio for so long about doing it, and I was like, 'Well, 'that's that.' I'm sure we wouldn't have made the same choice.

It was harder, I think, to get attention for the films that I wanted to do than I expected it to be.

I don't think I focused on the financial part of it, but definitely, my ambition is to be great, and that always meant that the sky was the limit for what I was hoping to do.

I was thinking I would love to make something that is a successful film that everybody sees, but I wasn't thinking about the actual dollar amount. I just wanted to make a great film that people responded to. That's always a good ambition because you'll never totally hit it.

I'm excited to see her power really soar and us have a great time having a great Wonder Woman in our world.

I think you need to have a strong vision of your own.

We want to teach a better way and to be a hero, and there's no one like Wonder Woman to do it.

I can't take on the history of 50 percent of the population just because I'm a woman.

What I never want to do is start phoning it in and making things just to show that I can keep my foot in the door and do big movies.

I grew up in a family of fighter pilots, and I have a real kindred spirit to that kind of fast-moving aggression and momentum.

I have an aggressive streak of my own.

It's like there's something very maternal about Wonder Woman: when push comes to shove, if nobody else wants to do it, Wonder Woman would step up and take care of business. But she doesn't want to do it, and she would never take any delight in it. That's Wonder Woman to me.

I don't think I could have made a good movie out of 'Thor 2' because I wasn't the right director. And I don't think I would have been in the running for 'Wonder Woman' as a result. And that's one of the reasons why I'm glad I didn't do it.

I think that in superhero movies, they fight other people; they fight villains.

When I'm on a movie, I'm unavailable every day for a year and a half. You can't do that with a little baby. Somebody might be able to do it, but not me.

To me, superhero movies are like Greek myth.

There's a lot of mythological stories you can tell. There's not just one. I appreciate all of those different kinds, but what I was personally missing was grand, classic, true-north hero. Pure and simple emotion, and also aiming for big time emotion, like love story as well, in a very sincere way. Like 'Superman: The Movie' had done for me.

To me, the two things that Gal Gadot - who is an amazing actress, and she played a great Wonder Woman - but the true things that she actually has inside of her are this incredible warmth and charm that is also informed by great intelligence. It's those two things.

I had an interesting moment with 'Wonder Woman' where, when I first thought about doing 'Wonder Woman 2,' I thought, 'Well, these are so intense, making these movies. It's a lot to think about doing more.' But then I had an epiphany, and I thought, 'Oh, it's not more - it's better.'

Just look at Gal Gadot when she smiles or when she meets somebody and shakes their hand. That is the embodiment of Wonder Woman. She is so beautiful and powerful, but kind and generous and thoughtful. She's just an amazing person.

There's Batman, there's Superman, there's Wonder Woman. She's the full-blown real deal.

To make a masterpiece would be my life's dream.

I grew up in a bit of a feminist fantasy with a single mom. I was totally shielded, in a way, from an idea that I couldn't do something.

It is ironic you could make an animated film about a dog that's a universal character, but God forbid it be a human being who is not a man.

The idea of getting to make a movie like the ones that impacted me as a child is my life's dream.

I'm making a movie about Wonder Woman, who I love, who to me is one of the great superheroes, so I just treated her like a universal character, and that's what I think is the next step when I think you can do that more and more and when studios have the confidence to do that more and more.

When I made 'Monster,' I didn't think about it being about a woman. I didn't think about that she was a lesbian. I was telling a story about a specific person who was tragic and looking for love in the world, and the more I could make her you, the more of a victory.

I always say that 'Star Wars' had a huge effect on me, too, but what 'Star Wars' did for some people, 'Superman' did for me.

I've had tragedy in my life, and it doesn't stop comedy, so I think it's important to do both. Particularly in a superhero movie, but in any movie that accesses all people. Nobody wants to be abused for two hours.

The education of going through the 'Thor' experience was great.

I know that I'm carrying a bit of a weight on my shoulders of what I do represents more than just myself as a director. I wish that wasn't true, but it is. It makes me think about doing work that I believe in and that I believe I can do well, probably even a hair more than I would otherwise.

I never want to set a belief that a woman has to direct a woman's film, meaning she can't direct a man's film. If only films can be directed by people who are exactly the same as that, it's only gonna limit all of the women more.

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