Because of the movies I make, people get nervous. They think of me as difficult and angry. I am difficult and angry, but they don't expect a sense of humor. And the only thing that gets me through is a sense of humor.

Michael Jackson was extraordinary. When we worked together on 'Bad,' I was in awe of his absolute mastery of movement on the one hand, and of the music on the other. Every step he took was absolutely precise and fluid at the same time. It was like watching quicksilver in motion. He was wonderful to work with, an absolute professional at all times, and it really goes without saying... a true artist. It will be a while before I can get used to the idea that he's no longer with us.

There was always a part of me that wanted to be an old-time director. But I couldn't do that. I'm not a pro.

When I was growing up in the mid-'50s, the Roaring Twenties were a huge part of the culture. There were a number of films and a bunch of television shows that dealt with the mythology of the underworld from that period.

I always wanted to make a film that had this sort of Chinese-box effect, in which you keep opening it up and opening it up, and finally at the end you're at the beginning.

I've been extremely lucky to work with Elmer Bernstein, Howard Shore over the years, but I've always imagined films with my own scores, because I don't come from that world or that period of filmmaking. And so how could I make up my own score on a film like this where it isn't necessarily made up of popular music from the radio or the period; it isn't necessarily classical music. But what if it's modern symphonic music?

I loved the idea of seeing the world through a boy's eyes.