The temptation in the beginning (it took six years to get Michael Clayton greenlit) would have been to show off, but by the time I was making this film, the urge was to do anything but show off. I had pretty much landed on the temperature of the film and had no sentimentality about it. The mantra by that point was: Beautiful but not pretty at all. Electric but very still. Those contradictions were the sort of DNA that I wanted to follow.