Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.

I remember the initial genesis quite clearly. My interest in dreams comes from this notion of realizing that when you dream you create the world that you are perceiving, and I thought that feedback loop was pretty amazing.

I don't particularly enjoy watching films in 3D because I think that a well-shot and well-projected film has a very three-dimensional quality to it, so I'm somewhat sceptical of the technology.

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

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?

I would never say someone's else's film isn't 'a real film.' The quote is inaccurate.

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.