I went to New Orleans for the first time for Wild at Heart, and I kept going back to make more movies there. I've become very close to the city and part of me does feel like a New Orleanian.

I never studied dance, but if you look at 'Wild At Heart,' my mother saw that movie and said, 'You are a dancer. Look at how you're moving: all that strange energy is like modern dance.'

I find it inspiring and I always think when I'm working on something new, whether it's a new kind of character or a new kind of story or new kind of camera, it gets my creative wheels spinning.

I'm an enormous admirer of Christopher Lee. He's somebody, along with Vincent Price, who I celebrate, and I wanted my movies to show that celebration and that honoring of these great film stars that were unafraid to go into horror and Grand Guignol and the macabre.

I was thinking about being more global in my work, which means trying more foreign countries and working with foreign filmmakers, hoping they would give me a new take on my work, a new point of view, reinvent me in some way.

Sometimes I do love to rehearse, but I always switch it up depending on whom I'm working with.

I'm going to steal the Declaration of Independence.