As soon as television became the only secondary way in which films were watched, films had to adhere to a pretty linear system, whereby you can drift off for ten minutes and go and answer the phone and not really lose your place.

Superheroes fill a gap in the pop culture psyche, similar to the role of Greek mythology. There isn't really anything else that does the job in modern terms. For me, Batman is the one that can most clearly be taken seriously.

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?

It's very important that a film that intends to play tricks on the audience... has to play fair with the audience. For me, any time you're going to have a reveal in the film, it's essential that it have been shown to the audience as much as possible. What that means is that some people are going to figure it out very early on. Other people not til the end. Everybody watches the film differently.

I have to believe that when my eyes are closed, the world's still there. (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.

The best actors instinctively feel out what the other actors need, and they just accommodate it.