To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

By the time I was 10 or 11, I knew I wanted to make films.

I have to believe that when my eyes are closed, the world's still there. (Leonard Shelby, Memento)

I don't ever like to feel myself in the position to demand of an actor that they trust I'm going to do something worthwhile. I feel a responsibility to articulate what it is I'm going to do. Whether that's showing them a full script or sitting down with them and describing my ideas in detail. It's a very healthy burden on me as a film director to be able to articulate what I want to do, to inspire actors, rather than just saying, take it on trust I'll be able to do something worthwhile.

I think there are advantages to different scales of filmmaking. You wouldn't want to do just one thing.

When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.

Why do we Fall? So we can learn to pick ourselves back up.