I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.

The moment you have kids, you are prey to judgment, but you also become a judge. You find yourself going, "Can you believe what she did with such-and-such?" at school.

I've made movies that cost less than one car chase. But that's part of the pleasure of doing it, pushing yourself in new directions.

One movie is only one movie. I want to have a lifetime of making films.

Now Im back home, living in London, running my theater. I just want to enjoy all that.

The joy of a road movie is its very simple narrative nature, which is that you know you're going to go through different places and you're going to meet new people. At the same time, you have to not make it feel too obvious and too crudely episodic.

Listen, you make a big movie, you're going into the Coliseum, and people are going to give you the thumbs up or the thumbs down. And that's part of the game. It's part of the fun as well.