One key element to Hitchcock is the drooping jowl. That was crucial because his silhouette is crucial. There is something about his silhouette that became his brand.

I'd love most of the movies I make to be four hours long.

There is this miraculous thing I heard Hugh Grant talking about - the thing about screen acting is that you can read people's thoughts. You are trying to register something inside and usually the eyes in cinema are where you will register that.

Certainly for my father, there were great times, good times, not-so-good times. He might be shooting a Fellini film for six months, then not working for two months. I'm used to that dynamic.

I work best when a little scared, when there's so much more than the lines to think about.

I love making movies, I love trying to make them as good as I can, but I feel like sometimes the marketing and publicity around the movie, becomes the most important part of it.

I still don't feel I know Hitchcock at all. I find that the more one looks, the more elusive he becomes. But my admiration for Hitchcock the filmmaker remains undiminished. He is a giant of the cinema and the darkness in him informs his cinematic language. You can't separate one from the other.