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.

You always have to be very aware that the audience is extremely ruthless in its demand for newness, novelty and freshness.

I've never read Joseph Campbell, and I don't know all that much about story archetypes.

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.

What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.

I think the films Insomnia and Memento share all sorts of thematic concerns, such as the relationship between motivation and action, and the difficulty of reconciling your view of the story with the supposed objective view of that story.

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