I was a sort of rock journalist - whatever that is - in London in the late '60s.

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 only work with actors who take full responsibility for their characters.

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.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.