I was trying to think of a title for it, which is a hard thing. Limbo is basically a metaphor, anyway ... it's this place where you're neither here nor there ... and so many people live that kind of life.
Fahrenheit 9/11 took public domain information that should have been on the news every night and put it in a film that a lot of people went to see. But still Bush has never had to answer those charges.
Sometimes people can't afford to work for you, or they're not interested or available, and you hate to have written the whole movie with somebody in mind and not get them.
There was a widespread indignation in the American media. They were saying, How can you make a movie during an election that's about politics? What are you doing? Are you trying to influence people's lives? To which my response was, Well, I hope so.
As a screenwriter I'm often writing in genres where there have been thousands of movies; whereas when I direct movies they tend to be in between genres. They tend to have a little bit of a genre to them, but they're really about the people, and they're people we haven't met before.
I certainly grew up seeing more movies and television than I read books, but when it came time to do the thing itself you don't have to hire a lot of people to sit down and write a book, so that was the story-telling medium that was available to me.
There were not fifteen people in the story department and twenty-five producers and stuff. And Roger had produced 1,000 movies and directed a couple of hundred, and their comments were always very, very specific.
There are genres I don't care for, and I've never worked in those genres, and then sometimes there are people that I haven't liked and I haven't worked for those people. But if I feel like there's a movie that I would like to go see, I'll jump into it.
In a movie you have all these logistical problems; all these practical problems. But you're also going to have people come who can do things that you can't do, and you get to direct their talents.