I just have to think of Philadelphia now, and I get ideas, I hear the wind, and I'm off into the darkness somewhere.

I've seen so many cases where lives have been transformed for the good and heard so many stories about this. The technique of Transcendental Meditation really works for the human being.

Stories have tangents; they open up and become different things. You can still have a structure, but you should leave room to dream. If you stay true to your ideas, filmmaking becomes an inside-out, honest kind of process. And if it's an honest thing for you, there's a chance that people will feel that, even if it's abstract.

Lately I feel films are more and more like music. Music deals with abstractions and, like film, it involves time. It has many different movements, it has much contrast. And through music you learn that, in order to get a particular beautiful feeling, you have to have started far back, arranging certain things in a certain way. You can't just cut to it.

If we didn't want to upset anyone, we would make films about sewing, but even that could be dangerous. But I think finally, in a film, it is how the balance is and the feelings are. But I think there has to be those contrasts and strong things within a film for the total experience.

We think we understand the rules when we become adults but what we really experience is a narrowing of the imagination.

I'm not a musician, but I play music. So it's a strange thing.