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.

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.

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

Silent films were, I think, more different than we know to sound films. We think of it as simply that we added dialogue and in actual fact I think it was an entirely different art form.

I'm not from a theatre background, I'm wary of rehearsals. But what I do like is hanging out together, on location.

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.

If I can't make the kind of film that I want to make, then the hell with it.