Personally, I wanna be in an All-Star Game. Get All-NBA.

I played football until my sophomore year of high school, then I stopped.

My whole family growing up played sports, so I'm definitely from a strong sporting background.

The competitive spirit and the way we worked hard growing up came naturally to me from my family.

My dad really pushed me, my brother and my sisters from young to be great. We've taken the time and put a lot of work in, so I'm sure we can all go on and achieve some great things.

At Kentucky, the environment and the coaching staff is going to prepare you for the next level, but the way we played in college... there's not a lot of spacing in college at all. So, I mean, you've just got to be able to play off the ball.

In pick-and-roll situations, I feel like the NBA is all pick-and-rolls, so I want to be able to handle the ball in pick-and-rolls and make the right read, make the right passes, and make plays for my teammates.

I'm going to keep shooting, keep getting in the gym, keep working.

I would love to play for Leonard Hamilton and follow in the footsteps of my father at Florida State, where he played wide receiver and after a great career as a Seminole was drafted into the NFL.

At Kentucky, I was kind of a role player.

In college, I played a lot of 3.

Puma does a really good job with its athletes and providing what we want.

Every coach has told me I'm positionless. They want me to play an all around type of game.

My dad coached pretty much my whole life. I think he stopped coaching me when I got to the seventh, eighth grade, serious AAU, when I started getting recruited and stuff like that.

When you see how people in the developing world react and how they use a camera, you realise how narcissistic we are and how the filming of ourselves and thinking that we're interesting enough to care about is odd.

When you look at almost every submarine movie, to some degree or another, there's this 'Moby Dick' element, this Ahab element to them.

I'm not particularly ethnically Scottish; I have one grandfather who is Scottish, although he's called Macdonald, and you don't get a lot more Scottish than that. The Scottish part of my family are from Skye, and I've always been very aware of that - always been very attracted to Scottish subject matter, I guess.

It's nice to stretch in different directions and use different muscles. You can get swallowed into Hollywood, where it's all about bums on seats and how commercial a film is.

The tradition has always been that in Roman films, the Romans are always British, and it's usually posh British: Laurence Olivier and his ilk. My take on all this was that it's a metaphor for empire and the end of empire.

If there's a principle really worth sticking up for, I'll go the whole way.

I've fallen out very badly with some of the subjects I've interviewed, because they see their lives a certain way; to step into a cinema and see your life depicted in another way can come as a terrible shock.

The only obligation you have as a film-maker is to tell your version of the truth and to use your film to illuminate reality. Whatever that means.

No man, no woman is without their flaws.

'Uprising' was one of the first three or four albums I ever bought in 1980 when I was 13, and that had a strong impact on me.

For everybody in the world, the answers to the mysteries in your life usually lie in your childhood, your upbringing, and your parents.

I love Humphrey Jennings. People ask me who my favorite documentary maker is, and he's certainly in the top three.

I love submarine movies.

When I was growing up on Loch Lomondside, one of the first albums I ever bought was Marley's 'Uprising.' I guess that would have been 1980 - just before he died.

There were many times during the filming of 'Touching the Void' when I wondered why I had ever thought I wanted to make this film.

You can relate to someone with a flaw.

You can go to places in Africa and Asia and find Marley graffiti. In the slums of Nairobi, you see his lyrics painted on walls, and you realise he has this almost religious significance to the underclass of the world. He's a guy born in a hut with no bed, and now he's probably the most listened-to artist in the world. It's fascinating.

I suppose making documentaries is like doing journalism on film.

With 'Black Sea,' I long had an idea that I wanted to do a film about people stuck on the bottom of the ocean. I thought that was a terrifying scenario.

I used the same designer and costume designer on 'The Eagle' and 'The Last King of Scotland.'

I think the parallels of a giant power with overwhelming military superiority and might, with America and Rome, it seems obvious to me.

'State of Play' is a romantic story at its heart.

For me, the aim of making any film like this, any film about an artist, would be to send you back to the art.

The Internet has meant that advertising has migrated; there are hardly any classifieds in newspapers any more because they're all online. If people have a car to sell, for example, they sell it online; they don't go to the newspaper.

We're all fascinated by the way other people live their lives, how they cope with hardship and triumph, what they put in their home movies and family albums.

The first documentary I saw that tried to show the actual experience of being a soldier in combat was 'The Anderson Platoon,' by French director Pierre Schoendoerffer, which won the Oscar for best documentary in 1967.

Although 'The Anderson Platoon' was what we would now call an 'embedded film' - with all the ambiguities that term implies - somehow Schoendoerffer got away with showing things as they really were from a grunt's perspective.

Despite the limitations of the bulky 16mm camera and 10-minute film magazines, 'The Anderson Platoon' feels as spontaneous and fresh as any films that have come out of the Afghan or Iraq wars.

In war films, even more than in other kinds of documentary, we've come to think that shaky, poor-quality footage is somehow more authentic than something classically 'well shot.'

In film, I believe things should either be documentary or drama.

If there is a tendency in modern television I hate, it is the unstoppable march of the dramatic reconstruction to tell the stories of anything from an ancient Egyptian battle to the early life of Paul Gascoigne.

The great thing about making a film on a submarine is that it's kind of like making a play. You've got this limited environment.

Everyone's got to make one submarine drama in their life.

I find it really difficult when you make a movie where it is set in Russia and everyone speaks in English. It drives me crazy.

It feels like we're all so familiar now with the traditional three-act structure that, actually, stories that are more complex, more naughty, that allow for disagreement and discussion, are more interesting to us.

People who die in an untimely way who are artists, somehow that validates their art, we feel. Why culturally we feel that, I don't know.