But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.

When I am creating art, I have absolutely no social responsibility. It's like dreaming.

I'm simply a nonbeliever and have been forever. ... I'm interested in saying, 'Let us discuss the existential question. We are all going to die, that is the end of all consciousness. There is no afterlife. There is no God. Now what do we do.' That's the point where it starts getting interesting to me.

But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be.

If you put yourself in a group of people you cannot work with it's obviously going to be a disaster.

For me, it's just a normal artistic endeavour to explore the dark side. Certainly, I'm not alone in it. Artists generally don't like to accept the version of reality that society and culture hand them. They want to know what's really going on. So you're always looking in the ceilings, under the floorboards and behind the walls, trying to find the mechanisms, the structures, and the truth. I find that often leads you into some dark places.

See, you can't rewrite, 'cause to rewrite is to deceive and lie, and you betray your own thoughts. To rethink the flow and the rhythm, the tumbling out of the words, is a betrayal, and it's a sin, Martin, it's a sin." --Hank (Kerouac)to Martin (Ginsberg) in the film Naked Lunch