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.

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.

If I could steal someone's dream myself, I'd have to go for one of Orson Welles.

I don't ever like to feel myself in the position to demand of an actor that they trust I'm going to do something worthwhile. I feel a responsibility to articulate what it is I'm going to do. Whether that's showing them a full script or sitting down with them and describing my ideas in detail. It's a very healthy burden on me as a film director to be able to articulate what I want to do, to inspire actors, rather than just saying, take it on trust I'll be able to do something worthwhile.

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.

I think there's a vague sense out there that movies are becoming more and more unreal. I know I've felt it.

Why do we Fall? So we can learn to pick ourselves back up.