You know it's always amazed me - I think the most startling thing that's happened in the last couple of decades is that there is no sort of objective reporting anymore.
When you make a movie outside the system and it's successful critically or a moderate financial success, you usually have to go back into the system and make a big hit.
I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.
So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening.
Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.
The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.
I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.
