Do you remember when you found out you wouldn't live forever? People don't talk about this, but everybody had to go through it because you're not born with that knowledge.
You're seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved.
Let's put it this way, when I was casting, I cast Viggo first and then found someone who could play his wife, rather than the other way around. So for me he's still the lead character.
For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.
Each kid has a different level of expertise and some of them are very raw and inexperienced and some are incredibly mature and experienced. So you just have to go with what they are rather than have some abstract technique that you're going to try to apply to them.
Of course for many years directors have had to go on the road with their movies and promote them and I've done that since the beginning. So that's not new but the forms of it are different such as with the internet.
Well I don't think sex and violence have ever stopped a movie from being mainstream.
If you put yourself in a group of people you cannot work with it's obviously going to be a disaster.
But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.
Re-writing is different from writing. Original writing is very difficult.
