When I'm shooting, really the audience I'm thinking the hardest about is that first test screening audience who I want to like the film and that first opening weekend audience.

I do love DVD and I've always taken them seriously. You know, on the Austin things, we really put a ton of work into them because there's so much design involved. And in this one, we thought a lot about it and what could go in.

When we had ideas that earned there way in [Austin Powers], it began to get okay. The hook for me was 'Mini-Me.' We only auditioned one guy - Verne Troyer - and at the time I said, 'we have to get this guy, get him life insurance, whatever he needs' because there was no other way or actor to do it. It was amazing to me just to talk to him...he was Mini-Me.

On the other track I got to talk with Jon Poll, my editor, and we go into more detail about the decisions we made in both the production and the post-production. So I hope the combination becomes something worth collecting.

From our perspective now, there is a not a huge understanding about the totalitarian Communism that Soviet Russia practiced during the 1950s - it was an atrocious system.

Hedda's Hopper attitude was 'once a Commie, always a Commie.'

My biggest role as director on the film is keeping a sense of the overview - how to cast the movie and shoot it in such a way that it will cut together. And how to design the style and tone.