I remember the initial genesis quite clearly. My interest in dreams comes from this notion of realizing that when you dream you create the world that you are perceiving, and I thought that feedback loop was pretty amazing.

The best actors instinctively feel out what the other actors need, and they just accommodate it.

Yes, to me that's one of the most compelling fears in film noir and the psychological thriller genre - that fear of conspiracy. It's definitely something that I have a fear of - not being in control of your own life. I think that's something people can relate to, and those genres are most successful when they derive the material from genuine fears that people have.

I studied English Literature. I wasn’t a very good student, but one thing I did get from it, while I was making films at the same time with the college film society, was that I started thinking about the narrative freedoms that authors had enjoyed for centuries and it seemed to me that filmmakers should enjoy those freedoms as well.

I never meet anybody who actually likes the format, and it’s always a source of great concern to me when you’re charging a higher price for something that nobody seems to really say they have any great love for.

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 don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.