I'm always open. I try not to have a closed mind. In fact the only reason why I'm able to continue to make films since 1986 is I have been adaptable. If I weren't flexible I sure wouldn't be making films this many years as I've been doing it. I've been making a film a year almost since 1986 and that's hard. That ain't easy.

Music is, for me, a great tool of a filmmaker, the same way cinematography, the acting, editing, post-production, the costumes are. You know, to help you tell a story.

I don't really analyze my stuff when I write. I write about stuff that I'm interested in, that I'm feeling at that particular time. When I stand back and look at the complete work, I might see themes that run through the whole film, but I'm not really conscious of it when I'm doing it.

Our greatness, our talent has never been the question. It's been a matter of grappling for control over what we do.

There's an unwritten law that you cannot have a Jewish character in a film who isn't 100 percent perfect, or you're labeled anti-Semitic.

I like people to look like they're floating.

I tend to favour films that have multiple plot and story lines, multiple characters and ensemble pieces.