I remember To Live And Die In L.A. I saw that in the cinemas when I was young in the '80s. I remember the poster. It's a great poster.

The problem with cinema nowadays is that it's a math problem. People can read a film mathematically; they know when this comes or that comes; in about 30 minutes, it's going to be over and have an ending. So film has become a mathematical solution. And that is boring, because art is not mathematical.

Film works when a director and a star have a connection. You know, when there's something telekinetic between them, there's a partnership, it's like alter egos. It's like James Stewart and Alfred Hitchcock, or Fellini and Mastroianni. I'm not comparing, I'm just saying, if you can come into a relationship where the director and star have such a bond, it's so much easier to make a movie.

The future is not about what you do, it's about what you stand for.

I've been lucky to have a beautiful wife and children. The idea that something so beautiful can be so horrific at the same time. Beauty is a complex thing.

Beauty is on one level pure surface, and on the other hand, it's the most complex subject that we can touch upon because it says everything about us as people. It's a subject we very quickly begin to argue about. I think that's so interesting.

I think when you make a movie, one of your main focuses as a director is to inspire everyone else to give their best. Like manipulation.