I don't think the latest Star Wars pictures have any artistic intentions, but the original picture opened up epic science fiction.

I wanted to do London Boulevard because I saw the potential of a story about two people who need each other desperately, who love at first sight, as one does, and above all a story in which no one is what they appear to be.

As far as executing work is concerned, you do it all in order. You do it in contractual order. There's no overlap, it's just continuation of your ordinary work. You move from one project into another.

It's interesting to think that my children know more about the process than many mature critics.

I'm in the film industry, and I very seldom go to the theater now. It could be work, not being in New York, that sort thing - because in New York, you do go to theaters; you can walk to a theater and then walk to a restaurant. But in places you have to drive out to the cineplex to see a movie, it's starting not to be worth it anymore. It's like the days when you went to get a book at the public library. You don't have to do that anymore. You just go on your iPad and all of a sudden you're reading The Duchess of Malfi.

Because you're running an enterprise with two hundred-odd people, and it's really your responsibility to keep it moving quickly. So you have to know what you're doing, do it, and move on.

Casting is all about availability, as much as anything else.