Obviously, In The Heat Of The Night was a landmark movie because the timing was perfect. It was in the middle of the Civil Rights Movement.

When you shoot a musical, you're shooting to lipsynch tracks, so we had to figure out our choreography and work out what we wanted to do with each number before we did it.

We also have a tendency to root for the fugitive. We're always on the side of the animal being chased.

Look, I'm just a storyteller. When I make a film, I never want the film to become a vehicle of social propaganda.

A lot of American actors I work with are in character all day long. You can't talk to them. It's Method and the whole thing.

I work with a lot of movie stars.

Every generation deals with the breaking down of its tradition, and I think that they rediscovered the film.