That's my policy - to be positive, to just hope that something will happen. If you start with all your fears, your receptivity is for the negative.

When we were kids, you picked up a little paper and put it on a stick; and when you waved it back and forth, you understood the power of air underneath the wings. In that way, a child begins to understand abstraction, poetry, metaphor, symbolism. You play with the materials you have and use your imagination to make them into something else. That what's so sad about having everything on a little screen - it's not physical and dimensional, and that seems backward.

We have often been attracted to the story of the other, the outcast. And he and I just loved working together, so it just kept happening, and our relationship is completely bound up with our work. We enjoy each other's art.

When I'm working as a director, I might have an idea of my own but I'm also trying to get great ideas out of my actors. Directing is much more psychological - it's a lot like being a general. And you have to be organized. While you're making a film, you have between 2 and 500 people asking you a billion questions.

Children have an easier ability to tap into the surreal than adults do, in a funny kind of way.

I lived in Indonesia for four years and I understand trance and magic and where it comes from.

Some of my ideas for film or theater come to me in dreams. I'm also very creative when I'm talking to others. I believe in collaboration.