You teach, among other things, lock-picking…
(laughs) Among other things. … It indicates an attitude. It’s not meant to have everyone become a lock-picker, and the students understand that immediately. There are more serious things. I keep telling them: read, read, read, read, read. If you do not read, you will not become a great filmmaker.

Your next film, Cave of the Forgotten Dreams, will be showing at the Toronto Film Festival in 3-D. Why? What do you think that 3-D offers that what my local cinema calls “traditional 2-D” does not?
I’m still working on the film — in fifteen minutes I should be in the editing room. I had a long, long standing fascination with cave art, with deep recesses into pre-history. As a 12, 13-year-old kid, that was the first personal fascination I ever had. It was my first independent thing I was fascinated with. It was still lingering.
As for 3-D, I must say I was a skeptic and I’m still a skeptic in principle. But in some cases it’s wonderful. In The Cave of Forgotten Dreams, it was a fantastic decision; that’s why 3-D should exist. It sounds odd, but when you see it you will know exactly what I mean.