My mind can't always be on fighting.

Some days I have off like Thursday and Sunday but typically Monday, Tuesday, Wednesday, Friday, and Saturday are dedicated to training if I'm in fight camp.

I wake up around 8:30, 8:45. I eat my breakfast, hit the road by 10 A.M., and get to the gym by 11.

We've always been into juicing. It's one of the things that my wife likes to do. She's a vegetarian, so she loves to juice. And I'm a big health freak - well, when I feel like being it.

For me, I don't need to juice to make weight for my fights. I just do it for the health benefits - to keep my body healthy and to get my greens in me.

I do have my cheat meals. I have Oreos inside the house right now, and I have beer and fried chicken and waffles. All that good stuff. But once it comes down to when I really want to get in shape and get lean, I'll eat clean and go with whole foods.

I don't want to say I was ever scared to voice my opinion. I was just trying to make a good example, I guess you could say. And even when I'm more outspoken, I believe that I am still making a good example for younger athletes and also future athletes.

A lot of people misunderstand what it means to have good cardio. Good cardio is when you are able to push the fight, and I've shown that in all of my fights.

You have to take the belt, and I dont give my opponents a chance to take my belt. I go out there and take away their opportunity to take my belt away from me.

I wasn't a person who hated working. When I was working and training, I loved it. I loved that I had to work that hard. I think it transformed into the gym and then transformed into the octagon. It was a good thing.

If you look at the end of a roll of toilet paper, like the brown paper tube, I basically worked in a factory that made humongous ones like that - for concrete or anything you wanted to put in there. I was the guy who chopped those up into smaller pieces, put them in a box, throw it in a pallet, wrap it up, jump in a forklift and put it on a truck.

At the end of the day, I know what my skill set and abilities are, and it's just going to take people a little while to recognize it. Whether that comes around or not, I'm not going to sit here in the corner and pout about it.

I don't have small goals; I just have goals, and it's, one, stay healthy; and two, have a very successful career.

Me, I'm a working-class man, and I go to my job, put in the work, and walk away clean and unscathed, and I like it that way.

I hope people can remember me as the greatest. Who knows?

I don't allow people's outlook on me dictate what I do in my life and how I live my life.

I work way too hard in the gym to woo the judges and just skate by.

I'm a smaller guy, so I train at a high pace.

If you don't deal with your shadows, you are condemned to repeat the same mistake over and over, as a human being or as a society.

Cinema is an art form that is designed to go across borders. And as a filmmaker, the only way I can direct a movie is when I feel close to my culture.

My movies are very often violent and dark, but there's a spectrum of light, and that light is coming from the women.

'2001: A Space Odyssey' is a movie that really impressed me as a teenager. And also 'Blade Runner.' And 'Close Encounters of the Third Kind' is also one of my favorites. I'm always looking for sci-fi material, and it's difficult to find original and strong material that's not just about weaponry.

Sometimes you have compulsions that you can't control coming from the subconscious... they are the dictator inside ourselves.

I think I'm attracted to subjects that I'm afraid of. It's a way to approach things I am afraid of, things that bring fear in my heart, and try to understand them, try to deal with them. It's like demons. I try to approach it and understand it... I'm just visiting fears.

I think a good director is a good listener.

Cannes is the oldest film festival in the world, and I've long dreamed of having one of my films there in competition. It's a dream that lay dormant for a long time; I stopped believing in it.

In contradiction and paradox, you can find truth.

A longstanding dream of mine is to adapt 'Dune,' but it's a long process to get the rights, and I don't think I will succeed.

The problem in cinema is that you can never predict what will happen.

As a director, you're a bit of a dictator. But I feel that you're a better director if you're open to other people's ideas. It means that it's tougher: you have to be in a choosing process; you have to put the ego aside. As long as everybody's aiming in the same direction... I'm open to my main partners in the film crew.

Very early on, I was writing stories, and I was amazed at Spielberg's movies when I was young. Coming from the countryside, I was so impressed with the way he was able to tell stories and the way he was able to deal with le merveilleux - the wonders.

Very early on, I was writing stories, and I was amazed at Spielberg's movies when I was young. Coming from the countryside, I was so impressed with the way he was able to tell stories and the way he was able to deal with le merveilleux - the wonders. Very quickly, he became for me a massive hero, and he introduced me to the world of a director.

'Arrival' talks very little about language and how to precisely dissect a foreign language. It's more a film on intuition and communication by intuition, the language of intuition.

I have joy. Canadians have the reputation of making dark movies because we are in this society where we have the space to explore darkness. That's the way I see it.

I was 'impressed' by Hugh Jackman for five seconds the first time I met him, but as soon as he opened his mouth and shook my hand, I felt comfortable. He made me feel like I was one of his friends.

Each movie I make has its own heroes, and the two heroes for me in 'Arrival' are Amy Adams and Joe Walker, the editor. We worked very, very hard, and it was, by far, the longest editing process.

I had a lot of respect for Jeremy Renner as an actor before I worked with him, because I was very impressed with what he did in 'The Hurt Locker.'

Making poetry with a camera - that's the essence of what I do.

When I think of the 1980s, the only color that comes to mind is a brown, yellowish color. I guess it's coming from my life experience, and it's melancholia and sadness and a bit of joy.

The thing is that when you are a director, you need to be involved in a lot of different fields. You must be a psychologist, an architecture expert; you must be a choreographer.

My home is Montreal. I will stay in Montreal and continue to make movies in Montreal. But it's also very healthy for Canadian filmmakers to work outside the country. You learn so much.

I think that the world is very complex. I think that the movie is a good way to ask questions. To give answers, you would write a lot of books.

Repetition is hell. How can we get out of those cycles of violence? How come we are still today talking about peace in Israel? How come we're not able to find a solution yet? Something that will bring peace in this part of the world? It's the same in a lot of places in the world right now. How come we are not able to find peace?

I started in documentaries. I started alone with a camera. Alone. Totally alone. Shooting, editing short documentaries for a French-Canadian part of CBC. So to deal with the camera alone, to approach reality alone, meant so much. I made a few dozen small documentaries, and that was the birth of a way to approach reality with a camera.

The beauty of Toronto is that it has not been shot a lot in movies, for itself at least. I mean, most of the time, Toronto is shot to portray something else.

When I use violence in a movie, it's just to express the power, the impact of it.

The idea, as a director, is to be able to bring everybody on board and to inspire and give energy to everybody and to explain specific color, specific ambience. I need to be very precise, but I think I'm a better director when I'm more a channeler than a dictator.

I was a sci-fi addict when I was a kid and a teenager. Novels, graphic novels, movies, it was my way to deal with reality.

The thing I realized about final cut is it's the power of the best cut. I didn't have final cut on 'Prisoners,' but what you saw is the best cut. 'Sicario' is a directors' cut. 'Arrival' is a directors' cut.

I've been dreaming to do sci-fi since I was 10 years old, and I said 'no' to a lot of sequels - I couldn't say 'no' to 'Blade Runner.'