If you're going to perform inception, you need imagination. You need the simplest version of the idea-the one that will grow naturally in the subject's mind. Subtle art.

Writing, for me, is a combination of objective and subjective approach. You take an objective approach at times to get you through things, and you take a subjective approach at other times, and that allows you to find an emotional experience for the audience.

Memory can change the shape of a room; it can change the color of a car. And memories can be distorted. They're just an interpretation, they're not a record, and they're irrelevant if you have the facts. (Leonard Shelby, Memento)

When you're dealing with the world of dreams, the psyche, and potential of a human mind, there has to be emotional stakes. You have to deal with issues of memory and desire.

Every film should have its own world, a logic and feel to it that expands beyond the exact image that the audience is seeing.

We all wake up in the morning wanting to live our lives the way we know we should. But we usually don't, in small ways. That's what makes a character like Batman so fascinating. He plays out our conflicts on a much larger scale.

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?