The best love stories on film are rooted in the point of view of the more woundable, vulnerable party, the more amorous party.
I have always had an interest in performers who play against the most obvious of expectations and are able to find something secret, something withheld, and some level of restraint.
Pop music can get inside us and enter our memory bubbles. It provides those true Proustian moments, unlocking sensations, unlocking our imaginations. Music inspired me as a filmmaker.
I think many of the ideas that opened up in the '60s got implemented in the '70s and that certain minority voices that were not being heard in the '60s, like women and gay people, were being heard in the '70s. Black Civil Rights had also found its foothold, and those ideas were also very pertinent.
I'm pretty single-minded, unlike a lot of directors who miraculously seem to be holding six projects in their hand at a given time and juggling them accordingly.
My very first movie, 'Mary Poppins,' which I talk about, it just turned me into an obsessive, creative creature who had to sort of reply to the experience by drawing things, making things. It was like it forced - it made me into this obsessive, creative creature... I don't know any other way of putting it.
