I'm very manipulative towards directors. My theory is that everyone on the set is directing the film we're all receiving art messages from the universe on how we should do the film.

When museums are built these days architects directors and trustees seem most concerned about social space: places to have parties eat dinner wine-and-dine donors. Sure these are important these days - museums have to bring in money - but they gobble up space and push the art itself far away from the entrance.

I would've been intrigued by being a film director. I would've been intrigued by politics. I thought about architecture.

I enjoy looking at words on paper and visualizing how to make them come to life. As a director the creative process is really amazing.

I feel fortunate. I've really gotten to work with amazing talented people and to learn from them which is why I'm doing this. If I can work with the best director I'm going to do it.

I think Chris Weitz is an amazing director and his sensibility - I wouldn't even know how to articulate it - it's just he's a very sensitive interesting guy.

I thoroughly enjoyed working on Enemy of the State. Tony Scott is an important director and has an amazing ability to express himself and he doesn't do it in musical terms he does it in emotional terms. I got along really well with him.

If Martin Scorsese calls I am available. And then there the ones well you can just run down the list - any of those Oscar-nominated films they have amazing directors across the board.

Because I've made a film with such an amazing director as Tarantino I'm much more conscious of working with good directors from now on so that's what's important to me. I don't really care about making a big movie - I just want to make good ones.

Everybody just asks me 'Are you going to make Hollywood movies now?' First I don't know. Second I never dreamed about that I just dreamed about making movies with Tarantino. So if I can make movies with a lot of amazing directors - yes.

Yeah I've worked with a couple of female directors now and I think that they're amazing. As good or better than guy directors.

'The Dance Scene' is basically the most amazing dance show in the world and it follows me as a creative director. You see how I maintain that creativity.

Choreography is amazing. I'm still a dancer yet I transitioned into choreography then as a Creative Director. All of these creative elements are brought out of being a dancer. Directing is something that comes out of understanding movement and choreography. Directing movement is directing a dance piece.

Alexander Gonzalez Inarritu is a great director. He's the one I first worked with. He's amazing.

If you think you don't want to play another psychopath but the script is amazing and the director is fantastic and the story is incredible then you may end up playing your third psychopath in a row.

I still think that movies are amazing I respect actors and directors.

I'm so happy to have been a part of that process and I would go straight back into the desert in a ton of chain mail for Ridley any day of the week. He's an amazing director and I can't wait to see the long version.

I think Polanski's an amazing director.

The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director you're shopping - you're picking this actor you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.

On the stage you alone hold the key and on the night you have to trust that the director has inspired you enough to take the material and run with it.

In my cranky old age I actually prefer recording alone now on 'The Simpsons ' for example because I find that the director can just focus on what I'm doing and I can do a lot of variations. A lot of times when I record with a group I'll stay after class for another hour or two.