I only work with actors who take full responsibility for their characters.
I was a sort of rock journalist - whatever that is - in London in the late '60s.
I don't think it's sacrilegious to remake any movie, including a good or even great movie.
I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.
I also feel that the only thing more gratifying than working with someone who you've worked well with is working with someone new and coming up with something great.
When Silence of the Lambs did well commercially it was more than anything. My partner Ed Saxon and I were just so relieved that finally we had made a movie that had made some money!
I had very strong feelings, so the chance to make a film that deals in an imaginative way with stuff you care tremendously about is a real high. It's a really amazing thing to be able to do.