Actually I think 'A Midsummer Night's Dream' could sit very very perfectly in the middle of a Disney world I think.

For all the cynicism that the world contains, people are a little more open to those things that maybe are to do with returning you to some kind of simpler, happier state.

If it's good art, it's good.

I noted about Cate Blanchett was her very positive lack of concern for how she turns out in Cinderella. She is happy to be a villainess and very pleased to be encouraged as I did with her to reveal this backstory and feel as though this was very human, that this broken heart of hers, if you might regard it that way, would be visible, but she never played for sympathy and I really admired that about her, so she's just there, she just is and uncompromisingly.

I only really cast people who are desperate to be in it - who were dying to be in it, whose talent I believed in and were dead ready to do the work that was necessary.

It's no accident that Cinderella has been in the culture for thousands of years, and in cross cultures. I've traveled a bit recently, and in Russia, they completely believe they own this tale. And in Italy, they feel it absolutely is part of who they are. There is a timeless web to it.

The ferocity of passion that is engendered by people when they don't like what you've done is really tremendous. It's intense.