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

I've never read Joseph Campbell, and I don't know all that much about story archetypes.

When you start really thinking about the potential of the human mind and its ability to create an entire world while you're sleeping, I come away feeling like our minds are not remotely understood by science.

By the time I was 10 or 11, I knew I wanted to make films.

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 like films that don't have that unonimity of a response; that don't have consensus in the audience. What it is essentially for me is that if you go back and watch the film a second time, do you feel that you've been played fair with? Are all the clues in place? Indeed, sometimes these things are even overstated. Specifically, for that reason.

The film that really struck me was Ridley Scott's Blade Runner. That was a film I watched many, many times and found endlessly fascinating in it's density. I think the density of that film is primarily visual density, atmospheric, sound density, moreso than narrative density.