Music stops you from thinking.

Anybody I'd spoken to who'd been in Siberia said 'would you please put mosquitos in your film,' that's what everybody knows about, they're big and they're nasty.

Casting the right actor for the right part is some unspoken thing between the two of you to communicate.

It doesn't take any imagination at all to feel awed

I always thought the editor should cut the film and so I'll come in and look at the movie. Just because that's the only way I can really see the ideas of the editor, it's really working together. Yes it's a hierarchy, yes I'm the boss, but I like to see and to think about the idea, and it's about us asking, 'do we have to say that?' and, 'how do we make it there?' So it's advising the editor, it's very give and take, it's very free, but in the end, it's wonderful once you get through the first couple of cuts.

I'm not from a theatrical background where people do like to work it out on some stage space.

You get very little from the studios anymore, it's all independent. And I think the studio, with the exception of something like The Social Network, a fine film, very interesting, but as for studio pictures, that's it, what else? There was more only a few years ago. So it changes, and I'm trying as much as I can.