When you finish work, practically everybody in that place is going to watch a movie at night anyway. They're tired. They have dinner. They go up to their room. They're watching TV.

The things that are more my own style are something that I don't really have to think about. The only time I have to think about them is if I want to force myself not to do it the way I do it.

Mostly with commercial work, it isn't about personal vision. It's not a personal effort, it's work for hire. That's more my attitude with those. You just want to be a professional worker.

Kids are always open to anything. It's very rare that a kid isn't extremely eager to make you happy.

If somebody asks me about the themes of something I'm working on, I never have any idea what the themes are. . . . Somebody tells me the themes later. I sort of try to avoid developing themes. I want to just keep it a little bit more abstract. But then, what ends up happening is, they say, 'Well, I see a lot here that you did before, and it's connected to this other movie you did,' and . . . that almost seems like something I don't quite choose. It chooses me.

Sometimes when you're editing a movie, you have the thing that you don't expect - which is you make it longer and longer as you go along.

The only thing that takes away from it is when they steal some music from one of my movies and put it in a TV commercial. I am not crazy about influencing TV commercials. But if I legitimately influence someone making a movie, I think that is really flattering.