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When I'm actually assembling a scene, I assemble it as a silent movie. Even if it's a dialog scene, I lip read what people are saying.

Stanley Kubrick, I had been told, hates interviews. It's hard to know what to expect of the man if you've only seen his films. One senses in those films painstaking craftsmanship, a furious intellect at work, a single-minded devotion.

There's a whole system in Hollywood where the director never speaks to the studio, but I like to engage them in a discussion. I listen.

Stanley Kubrick is one of the geniuses of this century.

The other day in the garage, I found a book report from the seventh grade that I did about silent movie stars. It's funny to look at now, because it really foretold what my future would be.

I've always loved silent movies. I recently saw 'Tilly's Punctured Romance' at the Academy, which is the first comedy made with Charlie Chaplin in 1914, and I sat there, and I couldn't believe that the entire audience of 2,000 people were laughing that hard from a movie made in 1914 - and there were no words; it was all faces.

I always loved silent movies. I was not a specialist, but I loved them. And when I started directing, I became really fascinated by the format - how it works, the device of the silent movie. It's not the same form of expression as a talkie. The lack of sounds makes you participate in the storytelling.

I mean, I've been in a hundred and fifty films; I don't want to just sit around and talk about things.

I like some of the early silent films because I love to watch how actors had to play then. What would interest me today is to do a silent film.

Actually, I met a lot of directors and most of them have that fantasy to make a silent movie because for directors it's the purest way to tell a story. It's about creating images that tell a story and you don't need dialogue for that.