The way a child discovers the world constantly replicates the way science began. You start to notice what's around you, and you get very curious about how things work. How things interrelate. It's as simple as seeing a bug that intrigues you. You want to know where it goes at night; who its friends are; what it eats.

You start selling the movie before you make it.

At a certain point the audience shouldn't worry about catching every word and understanding every twist and turn, because at a certain point that's pretty much impossible.

I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.

For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.

Each kid has a different level of expertise and some of them are very raw and inexperienced and some are incredibly mature and experienced. So you just have to go with what they are rather than have some abstract technique that you're going to try to apply to them.

I'm not very well organized unless I'm plugged into a structure like the opera or a movie. When I'm doing that, I have to be organized.