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.

At a certain point the audience shouldn't worry about catching every word and understanding every twist and turn, because at a certain point that's pretty much impossible.

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.

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.

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.

The idea of a mass audience was really an invention of the Industrial Revolution.

Art forms of the past were really considered elitist. Bach did not compose for the masses, neither did Beethoven. It was always for patrons, aristocrats, and royalty. Now we have a sort of democratic version of that, which is to say that the audience is so splintered in its interests.