I loved Sherlock Holmes as a kid, but I remember being disappointed when he'd come up with these simple explanations for these complex mysteries.

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.

I love a chance to shoot real locations, because in films in the earlier days before people traveled as much, it was exotic to see a film set in Switzerland, and that area has been taken over by CGI, mostly, and fantasy landscapes. It's unusual to see this much landscape, people say it's old fashioned. So what you're referring to is there was that period in the '50s and '60s when there were epics and you saw landscape.

When I began making films, they were just movies: 'What's the new movie? What are you doing?' Now they're called 'adult dramas.'

You can mix in certain sensitivities as a filmmaker.

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.

The best conversation with Stanley Kubrick is a silent one: you sit in a theatre and watch his films and you learn so much.