When I was growing up in the eighties, there was a real nostalgic streak for the fifties. Look at 'Back to the Future.'

The thing I do miss about the way some sequels were in the past was that each film felt like its own unique, complete tone. Now, sequels are tonal facsimiles of the ones before them, like a television series, whereas back in the past sequels would often be radically different from the ones before.

My goal from the very beginning was to make very visually lush, juicy films that you can really sink your teeth into. That's always been part of my modus operandi.

We moved around a lot when I was younger. I never really felt at home until we moved to Canada, but even then, I always felt strangely out of place and alien.

Really, I'll go anywhere at any time to continue working in theater - it's a passion that I'm thankful I still have. It keeps me creative and on my toes and meeting great people. I can't imagine a better way of working than on a play.

Me as an artist, I'm more notorious for writing songs that celebrate women, songs that are all about the positive element of the immensely confusing creature that is woman.

My greatest strength as a child, I realize now, was my imagination. While every other kid was reading and writing, I had seven whole hours a day to practice my imagination. When do you get that space in your life, ever?

I have a terrific relationship with Woody and realize it's full of dramatic overtones, but it's really quite simple. It revolves around conversations, film talk, sports talk, books, and art.