The structural notions to me always have to be worked out very carefully in the script stage. Whatever a particular structure is. Whether it's chronological or non-chronological. To me that's always about what point of view are we trying to address in the film?

When you start really thinking about the potential of the human mind and its ability to create an entire world while you're sleeping, I come away feeling like our minds are not remotely understood by science.

I always find myself gravitating to the analogy of a maze. Think of film noir and if you picture the story as a maze, you don't want to be hanging above the maze watching the characters make the wrong choices because it's frustrating. You actually want to be in the maze with them, making the turns at their side, that keeps it more exciting...I quite like to be in that maze.

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.

Revenge is a particularly interesting concept, especially the notion of whether or not it exists outside of just an abstract idea.

If I could steal someone's dream myself, I'd have to go for one of Orson Welles.

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