After you've done the first feature, then you have heck of a difficult time getting your second film off the ground. They look at your first film and they say, "Oh well, we don't want you anymore."

Good luck has its storms.

You can find people who have discovered the fact that it's really helping people, it's really being compassionate toward other human beings that makes you happy, that gives you a spiritual fulfillment - a kind of fulfillment that goes way beyond anything you can buy.

I've discovered that most critics themselves are cinematically illiterate. They don't really know much about movies. They don't know the history. They don't know the technology. They don't know anything. So for them to try to analyze it, they're lost.

I have a lot of ideas and I want to be able to work. To me, it's like one of these contests where you get five minutes in a supermarket to take anything off the shelves you want and try to fill your cart up as much as you can. That's the way I look at my work.

I've always just followed my own course, whatever I found the most interesting to me at the moment. I've never had a real plan of, "I want to get from here to there, and I've got to do this."

You want people to think. You want people to be emotionally moved. And there's a theory behind that in terms of storytelling. It has been around for thousands of years. And that's where something like live theater or a live performance is something that is very valuable because you get instant feedback from your audience and you kind of know the things that work and the things that don't work.