I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I like finding a great shot and then just staying with it for a long time, not trying to pump things up with some kind of artificial energy by cutting.

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!

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

I'm guided by my enthusiasm.

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.

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.