Sometimes I am more interested in the richness of the material with all the stuff we've done which all tell a story to me rather than any single film career I could have, because I really do find myself interested in other people's ideas. I just want to be responsible with an array of things that engage me and feel vital, opposed to the corporate media out there that is just about making the loudest noises possible.

Glenn and I were listening to a radio show in the car, and he said, "Glass Eye Pix should do radio plays." I loved the idea of working in a different medium. We've made comics, books, movies, video games, models, advent calendars, why wouldn't we try audio plays?

Sound and sound design has always been very important to my approach to film, because it is a more subversive and allusive aspect of the medium.

The worst thing that could happen to a filmmaker is growing up wanting to be a filmmaker.

There are scripts that have come our way that are much more likely to be hits, but we don't really think that way.

It's always different, depending on the writer and the director. A collaborator like Graham Reznick delivers a fully finished piece, perfected in every way. Other writers direct the recording session and then leave quite a bit of the work to us.

The whole film business was built on immigrants: Billy Wilder and Michael Curtiz and all these hefty lads.