A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.

I make every movie like it's the last one. "If this was the last movie, what decision would I make?" That's how I make my decisions.

But my sense in talking to people when I travel is that the film business is not that dissimilar from a lot of other businesses.

I like to know where I am. I don't like the kind of cutting where you don't know where you are.

I've found through experience that I'm only good when I'm writing something that, in essence, only I could write. The times I've written for hire, for other people, I don't think I've done very well.

I was thinking that people have to believe you're crazy in order to take you seriously as an artist. If you're wandering the streets, talking in gibberish, nobody ever asks you to change anything about your art because there's no context for people to look at what you do.

It's pretty clear to me that working as a director for hire agrees with me. I like it. The films that have come out of that, I personally like better than the ones that didn't.