Some of the best stuff in all my movies has been improv.

We love those beautiful, Latin American stories where there is an element that's more mysterious and wonderful. I think as a child a lot of us love the idea of the star and more of the supernatural elements.

I used to be an architect, so I have a series I am working on with USA Network that I created and am co-writing.

You actually do confront your dark side, your impulses, or your feelings of sibling rivalry in Cinderella or whatever. You admit that they exist and then you work through them and conquer them and come out living happily ever after having learned something. That's one reason why the fairy tales keep having traction and meaning.

As a director, you try to do things that are going to touch the human experience somehow, and emotions that mean something to people. You search for those projects and you hope to realize the potential in a project.

For Twilight, I wasn't thinking it was going to be a crazy success, or anything. It had been rejected by all the major studios. Nobody wanted to make it and they didn't think it would make any money, but I read the book and I thought, "Wow, I want to capture that feeling of just being crazy in love. I wonder if I can do that in a film." That was my challenge.

I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.