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 always thought the joy of reading a book is not knowing what happens next. (Leonard Shelby, Memento)

I remember the initial genesis quite clearly. My interest in dreams comes from this notion of realizing that when you dream you create the world that you are perceiving, and I thought that feedback loop was pretty amazing.

In Hollywood there's a great openness, almost a voracious appetite for new people. In England there's a great suspicion of the new. In cultural terms, that can be a good thing, but when you're trying to break into the film industry, it's definitely a bad thing.

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

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.

When I look at a digitally acquired and projected image, it looks inferior against an original negative anamorphic print or an IMAX one.