To me, any kind of filmmaking that's reactive is not going to be as good as something more inventive and original.

Heist movies tend to be a bit superficial, glamorous, and fun. They don't tend to be emotionally engaging.

Say you have a headline like "Mountain Bike Stolen," and then you read the story, read another story about it the next day, and then the next week, and then the next year. News is a process of expansion, the filling in of detail, and making narrative connections - not based on chronology, but based on features of the story. There are narrative connections made between props, between characters, between situations, and so forth.

I never considered myself a lucky person. I'm the most extraordinary pessimist. I truly am.

I always find myself gravitating to the analogy of a maze. Think of film noir and if you picture the story as a maze, you don't want to be hanging above the maze watching the characters make the wrong choices because it's frustrating. You actually want to be in the maze with them, making the turns at their side, that keeps it more exciting...I quite like to be in that maze.

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.