What I try to do is write from the inside out. I really try to jump into the world of the film and the characters, try to imagine myself in that world rather than imagining it as a film I'm watching onscreen. Sometimes, that means I'm discovering things the way the audience will, with character and story.

I never meet anybody who actually likes the format, and it’s always a source of great concern to me when you’re charging a higher price for something that nobody seems to really say they have any great love for.

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

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.

Every film should have its own world, a logic and feel to it that expands beyond the exact image that the audience is seeing.

I have been interested in dreams, really since I was a kid. I have always been fascinated by the idea that your mind, when you are asleep, can create a world in a dream and you are perceiving it as though it really existed.

The most stressful and difficult part of steering a large movie is that you are taking on the responsibility of communicating with a very wide audience. You can't ever hide behind the notion of, 'Okay, they just don't get it,' or, 'Certain people just don't get it.' You have to be mindful of the size of your audience, and you have to communicate in a way that lets them in.