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 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 can't really envision a time when I'm not shooting something.

Actually, I was rock climbing on this film at 7 in the morning. It was quite unique! But in any event, the colour of the leaves disturbed me so we had to work on that. On the other hand, I didn't want to drench it in a kind of depressing tone.

Your job is to get your audience to care about your obsessions.

A panoramic vision of Bob Dylan, his music, his shifting place in American culture, from multiple angles. In fact, reading Sean Wilentz's Bob Dylan in America is as thrilling and surprising as listening to a great Dylan song.

When I'm making a film, I'm the audience.