The real truth of that is that much as you want to believe that it's you being on top of everything, you're actually relying massively on the people around you.

What I react against in other people's work, as a filmgoer, is when I see something in a movie that I feel is supposed to make me feel emotional, but I don't believe the filmmaker shares that emotion. They just think the audience will. And I think you can feel that separation. So any time I find myself writing something that I don't really respond to, but I'm telling myself, 'Oh yes, but the audience is going to like this,' then I know I'm on the wrong track and I just throw it out.

When you play a videogame, you could be a completely different person than you are in the real world, certain aspects of the way your brain works can be leveraged for something you could never do in the real world.

To me, the most interesting approach to film noir is subjective. The genre is really all about not knowing what's going on around you, and that fear of the unknown. The only way to do that effectively is to really get into the maze, rather than look at the maze from above, so that's where I sort of come at it.

People want to see something that shows them you can do what you say. That's the trick.

I think the films Insomnia and Memento share all sorts of thematic concerns, such as the relationship between motivation and action, and the difficulty of reconciling your view of the story with the supposed objective view of that story.

You always have to be very aware that the audience is extremely ruthless in its demand for newness, novelty and freshness.