And also the idea of not making it apparent that it's different from the rest of the film, even though there are visual differences, the audience is supposed to think that they are with him when he wakes up in the morning.

The sad thing about working on a movie is that you can never see the movie.

When I'm writing a script, before I can write dialogue or anything, I have two or three hundred pages of notes, which takes me a year. So, it's not like "what happens next." I've got things that I'm thinking about but I don't settle on them. And if I try to write dialogue before then, I can't. It's just garbage.

Writing is a journey into the unknown.

When I'm writing, I'm trying to immerse myself in the chaos of an emotional experience, rather than separate myself from it and look back at it from a distance with clarity and tell it as a story. Because that's how life is lived, you know?

The conventional wisdom is - people say this all the time - you should only write something when you're far enough away from it that you can have a perspective. But that's not true. That's a story that you're telling. The truth of it is here, right now. It's the only truth that we ever know. And I'm interested in that truth and the confusion being part of the experience and sorting it your way through and figuring it out.

I do a lot of things intuitively. I'm not often consciously aware of what I'm doing. It's like in a dream: There's something going on that's powerful but you don't know exactly why.