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.

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.

When you're in the muck, you can only see muck. If you somehow manage to float above it, you still see the muck, but you see it from a different perspective. And you see other things, too. That's the consolation of philosophy.

You know, there's a saying in art that in order to be universal you must be specific. So I think every artist feels that he is dealing with specific things but that it also has significance universally.

Let's put it this way, when I was casting, I cast Viggo first and then found someone who could play his wife, rather than the other way around. So for me he's still the lead character.

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.