I'm in the process of working out an arrangement to make some very, very, very small films in the midst of all these films and maybe that will help. But you get tired of talking. You just want to do it.

All human interaction, you can break it down to incentives. All relationships, at some level, are transactional. They're fascinated with incentives.

I was lucky that I was getting exposed to a lot of different kinds of films, and I was liking them all. So it seemed logical to me that you could - as in the style of the studio directors of the 30s and 40s - jump from one genre to the next, with the same satisfaction.

There's definitely a way of thinking and a way of being in the South that has its advantages and disadvantages.

I think that music is a very difficult art form in which to be avant-garde. When we sit down to listen to a piece of music, I think our implicit hope is that we're going to find it beautiful, or at least emotional, on some level.

I think I'm good at amplifying an actor's strengths, and minimizing their weaknesses. And they all have strengths and weaknesses.

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.