I've become wary of interviews in which you're forced to go back over the reasons why you made certain decisions. You tend to rationalize what you've done, to intellectually review a process that is often intuitive.

So much of the work is intuitive. The resistance you detect is just that, a kind of evasion, a sense that too much analysis will inhibit creativity.

I don't know if there will ever be an ideal way of selling an original picture. Because everything you're doing, you're inventing.

I've done a number of things that get categories closed off in a way, so when I read 'The Long Walk' by Slavomir Rawicz and decided to do film, 'I thought, you know, this is going to be wonderful,' two and a half years, three years, whatever it was.

With war and famine and flood and special effects films, when you do somebody under duress, you have to be really be inventive and the risk of keeping it very simple is you might loose some of the audience because it's not overt, it's hidden, not coming at you. Then you might cut through to some of this numbness and reach something profound and tragic.

It's spiritual, a man that has a past and regrets, but you can as a director take a shot, and there's something in the eyes and the face, you just can't fake it, you can't teach it, and I think Ed Harris has that quality.

Well, all these stars have their houses swept quite regularly by people who work in the surveillance security business. They come in and they look for bugs and things.