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 play a videogame, you could be a completely different person than you are in the real world, certain aspects of the way your brain works can be leveraged for something you could never do in the real world.

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.

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

I've always believed that if you want to really try and make a great film, not a good film, but a great film, you have to take a lot of risks.

For me, as a film goer, I like nothing more than to sit in the cinema, have the lights go down and not know what I'm about to see or unfold on-screen. Every time we go to make a film, we do everything we can to try to systematise things so we're able to make the film in private, so that when it's finished it's up to the audience to make of it what they will.

I just love photographing things and putting them together to tell a story.