I have no rules. For me, it's a full, full experience to make a movie. It takes a lot of time, and I want there to be a lot of stuff in it. You're looking for every shot in the movie to have resonance and want it to be something you can see a second time, and then I'd like it to be something you can see 10 years later, and it becomes a different movie, because you're a different person. So that means I want it to be deep, not in a pretentious way, but I guess I can say I am pretentious in that I pretend. I have aspirations that the movie should trigger off a lot of complex responses.

I also think the relationship I have with my audience is a lot more complex than what Hitchcock seemed to want his to be - although I think he had more going on under the surface as well.

I'm very anti-religious because religion tends to disembody you.

Your'e seeing me develop, not only as a filmmaker if you've seen my earlier films, but you're seeing me kind of learn how to be a human, how my philosophy has evolved.

If the audience lets that stuff wash over them, you know - almost like music, rather than dialogue - and doesn't fight it, then they'll have a much easier time rather than being sort of frustrated and confused otherwise. But if you get in the right state of mind it really does work quite well.

You know, there's a saying in art that in order to be universal you must be specific. So I think every artist feels that he is dealing with specific things but that it also has significance universally.

Everybody's a mad scientist, and life is their lab. We're all trying to experiment to find a way to live, to solve problems, to fend off madness and chaos.