I've always wanted to do a space movie.

I don't want to make pompous, serious films; I like films that have a kind of vivacity about them.

I love that sense of change that you'd get in pop music every three minutes, every four minutes.

Directing is a mixture of compromise and perfectionism. When you lose the judgment of which is more important at any particular moment, you're time is over. They find you out and send you packing.

Basically, actors arrive in a bubble. They have a little sealed bubble around them and it's basically [comprised of] their agents, their last film, their next film, their press agent, and their per diems - all these things, they cocoon themselves with and you have to puncture that bubble on each of them to make them be in your film.

Once, a French journalist told me that all my films are the same. I said, 'Excuse me? I work hard to make them different.' What she meant was that in my films there is a character that faces insurmountable odds, and they overcome them. But I thought that might be true, but you need certain factors for drama, and you need to overcome them.

You use elements of noir, but you don't want it to be too noir-ish. You don't want it to be advertised as though you're asking people to go and watch an updated noir. I don't think they'll go do that. They want to see a modern story.