It's interesting that these themes of crime and political corruption are always relevant.

Basically, you make another movie, and another, and hopefully you feel good about every picture you make. And you say, 'My name is on that. I did that. It's OK.' But don't get me wrong, I still get excited by it all. That, I hope, will never disappear.

I don't think there's a subject matter that can't absorb 3-D; that can't tolerate the addition of depth as a storytelling technique.

And as I've gotten older, I've had more of a tendency to look for people who live by kindness, tolerance, compassion, a gentler way of looking at things.

I'd like to do a number of films. Westerns. Genre pieces. Maybe another film about Italian Americans where they're not gangsters, just to prove that not all Italians are gangsters.

In truly great films - the ones that people need to make, the ones that start speaking through them, the ones that keep moving into territory that is more and more unfathomable and uncomfortable - nothing's ever simple or neatly resolved. You're left with a mystery.

[Kubrick] was unique in the sense that with each new film he redefined the medium and its possibilities. But he was more than just a technical innovator. Like all visionaries, he spoke the truth. And no matter how comfortable we think we are with the truth, it always comes as a profound shock when we're forced to meet it face-to-face.