I try to take interest in whatever comes my way. Another aspect of this is [that] if at the beginning it seems like something I don't want to do, I ask myself why I don't want to do this and why I feel this way. It's perhaps rooted in the fact that I'm trying to avoid something.

When you're dealing with Hollywood people, it creates a tight, tense atmosphere through the whole thing. And I don't like to work in that kind of atmosphere. I like to make my movies in a kind of relaxed atmosphere.

On the times when I used to make movies that were with a lower budget, nobody was expecting it to be a hit, and nobody was paying attention to what I was doing, and it was a free type of creative process. So, one way to reset myself is to go back to that kind of moviemaking.

You can't really make something or make a movie and feel all through the process that it's a painful thing. It's not possible to do that.

And if I'm running away from something, I try to make myself face it and overcome that initial fear. As a director, I don't think it's possible to make a movie that you really don't want to make.

As a filmmaker, you've got to have a nose for what's going on culturally. You have to feel it. It doesn't have to be manga or music, but you need some kind of antenna. That's very important.

It's not really important to make skillful movies. I think expressing yourself really well, skill-wise, is not as important. I want it to be sort of raw and rough but new and fun to watch.