I've been interested in dreams since I as a kid and I've wanted to do a film about them for a long time.

I would never say someone's else's film isn't 'a real film.' The quote is inaccurate.

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.

I'm taking a bit of a wait-and-see attitude towards 3D.

A hero can be anyone. Even a man doing something as simple and reassuring as putting a coat around a young boy's shoulders to let him know that the world hadn't ended.

Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there - I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.

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.