What worries me is the professionalism of everything.

I don't want everything to be flowery perfection. I like it there to be a charge behind it, you know?

I make out a play list for every character and buy the records they would listen to; it helps me find their personas. What they play, where they stay, who they lay, is my matrix for character development.

For 'Filth,' we had about 12 producers on the thing. The opening credits go on for months. Most of them are actually financers rather than producers. And the only way that we could raise the budget without interference from a studio was to have a lot of different financers on board.

I've eaten ice cream from all over the world, but until you've tasted Graham's from Geneva, Illinois, you haven't had ice cream at all.

I think that every project offers an opportunity to reinvent process as well as content.