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I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

- Jonathan Demme
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Jonathan Demme
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I'm all for streaming, and I do think it's thrilling that a gazillion people can see our film the day it drops. On the other hand, I'm a fierce believer of the theatergoing experience. My hope would be that films can be enjoyed in both ways, that there's room for both.

Every film deserves its own unique look.

I often find myself feeling that filming music is somehow the purest form of filmmaking. This crazed collision of sound and images, the intense collaboration, these incredibly cinematic performances. And for the nights you're filming, a non-player like me gets to feel somehow part of the band.

When you're filming, if you can't capture the relationships and interplay, that magical thing that transpires between musicians during a performance, then you're not going to have a deeply interesting film. It's vital.

I get creeped out by Francis Bacon's paintings, and I can't say exactly why. They're all really disturbing, and there is an almost nimbus-like quality behind some of his frightening characters and stuff.

By the time I got to 'Silence of the Lambs,' I was madly in love with close-ups because I'm madly in love with actors, and a basic premise of 'Silence of the Lambs' is the story about two people fighting their way into each other's heads.

As much as I love acoustic Neil Young - and I do deeply - I may be more passionate about the electric. Luckily it's not a contest, and we never have to make that choice. But Neil Young on an electric guitar - I feel like I've never seen or heard anything like it.

In 'Heart of Gold' at one point, there were 23 players on the stage with him. And part of what's magic about Neil is the way he interacts with the other musicians.

At certain points, I was afraid there was something - a missing chink of skill - that was going to prevent me from having a movie that was financially successful. That frightened me.

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I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.

I don't think of Storefront Hitchcock or Stop Making Sense as documentaries, I think of them more as performance films.