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

Period films to me are very often alienating to the audience. There's very often a formality. A staunchy quality to them that comes from the misenscene. It also comes from the performances of the actors, because they're acting Victorian which really means that they're just acting the way they've seen previous actors act Victorian.

I think there's a vague sense out there that movies are becoming more and more unreal. I know I've felt it.

I'm very happy where 3-D is going, which is that it's becoming a choice - and thankfully, most people are still choosing 2-D.

One of the things you do as a writer and as a filmmaker is grasp for resonant symbols and imagery without necessarily fully understanding it yourself.

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.

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?