You hear stories about directors using manipulation to get actors to do certain things, but I think when you're working with professional actors, it's all about trust. They can do anything you want, it's just a matter of them understanding what you're looking for, and the reason why.

Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.

I think it's important as a filmmaker, as any person working in the arts, that you've got to try new stuff and challenge yourself and take chances.

As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.

I associate going to an airport with work because I travel so much with my job. So when I have a few days free from work, I tend to stay at home.

The biggest luxury is a job in which I get to live in New York, travel the world, and work with so many incredible people.

Since we launched the original 'Pop Idol' in England, I've remained close with Simon Fuller. Working as executive producer on 'American idol' for its first seven years not only was an inspirational journey into the heart of American pop culture, it opened my eyes to the untapped potential of the incredibly dynamic young people in this world.

You need to be an adrenalin junkie when you travel with kids.