If you look at the mythology of aliens, there's a lot about gold. It's about them coming for gold; whether that's a simplification or not. If you think of 'Chariot of the Gods,' there's this reoccurring theme of gold.

Ever since I read 'Kitchen Confidential,' I saw a little light bulb go off. Being a chef is like being on a pirate ship; it's not like 'Who Is Killing the Great Chefs of Europe?' or whatever my impression was as I was growing up.

When Ron Howard does 'Rush,' he has to learn and steep himself in F1 culture and European racing culture, and that's part of the fun of the gig. You learn to learn. Your real skill as a director is being a learner and an observer. You're constantly learning another thing in context.

I'm of a generation of director that came up understanding special effects.

In 'The Violinist's Thumb,' I talk about the poignancy of cells leaking across the placenta into both the mother and the child.

I went to school with Steven Wright, who was the shyest guy I knew, and one day someone suddenly told me that he was in a club doing standup comedy. I went down to his club and he was great. Another friend of mine, who was pretty much a thief by trade, was hosting the show. So I thought, 'If these guys can do it, then so can I.'

Hypocrisy is the mother of all evil and racial prejudice is still her favourite child.

We listened to a lot of drama, adaptations of books, comedy. There was a real love of music expressed in choirs, because you didn't have to have instruments except your voice.