I think of great masters, like [Alfred] Hitchcock, for example, who works absolutely within this sensational realm. You feel like you can always tell what temperature a room is in a Hitchcock film because the people feel alive, they don't feel like they're just being filmed on a stage.

In The Deep End, you have a woman who looks like a J. Crew mother who can manage it all. Then we begin to realize what's going on inside. Every time I see one of those women stuck at a stoplight with the children in the back of her car, I sort of think, "What have you just done? What's going on in your life?".

A large part of my filmmaking self has to do with my love of being in the cinema audience, and my relationships to what I want to see on the screen, what I have seen on the screen and what I don't want to see on the screen again.

You can sit next to somebody on the underground, and you can look at them quite intensely, but you can never, ever know what they're wearing under their clothes.

We're filling a big universe [in Doctor Strange], and so the look and the sort of plasticity of us is really important to us when we're striking poses here. It's very important, it's really great.

It was an amazing performer. Very temperamental, it spent a lot of time in its trailer.

We [ with Ewan McGregor] decided exactly what we would do at every moment, what the texture would be.