I'm a big fan of American vaudeville and Hollywood silent film-era slapstick and the music halls full of ridiculous, eccentric characters.
I think, as directors, they may recognize, more than the rest of the body of filmmakers, exactly what you do as a director, because I think sometimes the conception is if the camera isn't swinging around, and it's not pyrotechnic or worthily melodramatic, then the direction is uninvolved.
It drove me as a kid. I couldn't bear the idea that I wasn't the smartest. Then I got put in a B stream for four years at my school. And that was the making of me in a weird way.
I'm looking for an intensity of focus. It's a bit like tuning a guitar string. You tighten and tighten, and nothing really changes until you hit that tension, and suddenly it's there: you've got a note.
If you're in Hollywood, with no track record, it's pretty odds-on that you can get swamped and overwhelmed by the sheer scale of it all; particularly with the intense commercial push that you feel there.
I love the cinema, but I'm not a fascist about it. I've had some of my best experiences watching things on TV. But if I were Stalin, I would force everyone to be in the theater.
