It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.

I'm not really a Sundance baby, but they helped me so much I feel I have to acknowledge it.

I don't get a sense of American pride. I just get a sense that everyone is here, battling the same thing - that around the world everybody's after the same thing, just some minor piece of happiness each day.

It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.

Screenwriting is like ironing. You move forward a little bit and go back and smooth things out.

It's a gamble you take, the risk of alienating an audience. But there's a theory - sometimes it's better to confuse them for five minutes than let them get ahead of you for 10 seconds.

I don't miss scenes at all the way that I used to miss them when I was younger making a film. It's actually quite fun to get rid of them now.