If you're doing a music film, you've got to be singing about something. Or, you have to be singing in a vocabulary that has tremendous appeal or else people are not going to want to sit there for eighty or ninety minutes hearing this stuff.

If you're doing a music film, you've got to be singing about something. Or, you have to be singing in a vocabulary that has tremendous appeal or else people are not going to want to sit there for eighty or ninety minutes hearing this stuff.

I was a sort of rock journalist - whatever that is - in London in the late '60s.

As much as I love acoustic Neil Young - and I do deeply - I may be more passionate about the electric. Luckily it's not a contest, and we never have to make that choice. But Neil Young on an electric guitar - I feel like I've never seen or heard anything like it.

Everything I've made - it doesn't mean they've all been good - but everything I've made so far, big or little, fiction or documentary, has been something that I've been really enthusiastic about.

I remember the Neil Young brand hitting me very hard immediately. He wasn't an acquired taste. I loved him immediately.

When Silence of the Lambs did well commercially it was more than anything. My partner Ed Saxon and I were just so relieved that finally we had made a movie that had made some money!