Being English definitely gave me some insight into these eccentric Brits puttering around Hollywood.

I love the idea of creative collaboration. I love the idea of exploring marriages, particularly ones that are in process for a long time.

The good thing about the Anvil school of filmmaking was that it was fly by the seat of your pants. There was no safety net.

I think it's impossible to get any movie made, let alone a character story. Even with big stars, which we had, there were challenges. But we got through it, and we're really happy that we made the movie. It's easier to make giant robot movies, but I'm not in that game.

Whether it's a guy living in an airport like Viktor Navorski in The Terminal, or Anvil in Toronto, or Alfred Hitchcock who's imprisoned by his success there is a common thread to all these characters. I don't know why I'm particularly drawn to it. It's been pointed out to me, and I don't understand it myself.

I think Alma Reville was the only one Alfred Hitchcock trusted. When it came to issues of taste or what the audience wanted, down to editing, script and casting, he would turn to her first. She was his partner.

I think everyone who saw Alfred Hitchcock Psycho movie, as I did when I was young, was impacted. The shower scene is nuts. It still is, and I think what's wonderful about it is that it's universal. People understand the darkness and the violence, and it's shocking.