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.

The process of making a movie has expanded in terms of effort and time for the director, doing commentaries for the DVD for example, finishing deleted scenes so they could be on the DVD, and doing things like a web blog.

As a filmmaker, I ask questions but don't have answers. Moviemaking is a philosophical exploration. I invite the audience to come on the journey and discover what they think and feel.

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.

It was apparent to me that religion was an invented thing, a wish-fulfillment thing, a fantasy thing. It was much more real, dangerous, to accept that mortality was the end for you as an individual. As an atheist, I don't believe in an afterlife, so if you're thinking of murder, if your subject is murder, then that's a physical act of absolute destruction because you're ending something, a body, that is unique. That person never existed before, will never exist again, will not be karmically recycled, will not go to heaven, therefore I take it seriously.

Let's put it this way, when I was casting, I cast Viggo first and then found someone who could play his wife, rather than the other way around. So for me he's still the lead character.

Everybody's a mad scientist, and life is their lab.