You know the hardest thing to do in Hollywood is burn bridges. There is usually some sucker who still likes me. There is usually some sucker who will still work with me.

It's hard for me to worry about the studios losing money. I'm not very sympathetic to their money problems, because they certainly haven't been sympathetic to mine.

A lot of people seem to get carried away that something that's made out of paper mâché is going to be better than not. And I always thought the original King Kong, that terrible little puppet with its hair going in all directions, was far more magical than Peter Jackson's incredibly beautifully rendered King Kong. So there's something to be said for a more primitive version of things. I think it's because it makes the audience work a little bit more, because you've got to invest it with life and reality, so I like doing that.

I was an incredible Anglophile. I found people who shared the same sense of humor and attitude toward the world.

Actually, I began to think that maybe there is a god, after all. Or maybe its a different one. The old one got fired.

To me, the stories that have always intrigued me are the stories of people leaving my movies and being affected by them. They walk home 20 blocks the wrong way. Or they lock themselves in their office. Or they find themselves weeping when in the shower after the film. And those intrigue me, because I know I've touched something inside them.

I do think so much of what I do is reactive to the way the world sees itself, or the way the world is being portrayed. I wanted to offer an alternative to that. Whether it is accepted or not is beside the point, but it's an alternative.