My hope is that I'm going to continue to make more and more challenging work that's going to come out more and more interesting. I don't know if that will always continue to happen, but every one of my films has definitely been a progression as far as complexity of narrative, character, and plot.

I only want to work with actors that really get it and make it work. I didn't want it to be a star-driven thing anymore.

I've spent a life loving women and studying them as much as I can, or am allowed to.

When I go to movies I generally want to be taken to another world.

I wasn't a big fan of social anthropology. And, luckily, that created room for me to work in visual arts because I sort of ignored my requirements. I think I was attracted to social anthropology because I liked to travel and was always interested in far-off places.

Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.

At the end of Requiem all I wanted to do was get a DV camera and just do a small film. But then the hunger comes back.