You have to leave the window open for better classes to come along as you go. You can't grow too proud of your script. You have to let the thing shape itself. It guarantees the best classes will always be used and it also keeps you from going braindead. If you grow bored and uninspired working on something, the audience will be able to tell.

I think some of this just feels right. You're in the shower and you come up with a sentence and it's beautiful. You don't know how it's going to fit in the film, but you put it in because it feels right. This is a very long way of saying, so much of it is me feeling like I'm catching ideas rather than coming up with ideas. It's very fluid like that.

The design is a really flat primary color with all sorts of abstract geometric shapes, just implying something. And then you'd have your characters running from something with guns. It was very expressionistic.

No matter what decade science fiction comes from, it's representing the present.

It's naturally kind of humiliating and strange to have a microphone; when you're young you just make movies, you don't worry about all the peripheral stuff that comes with it.

I frequently run into this, where I genuinely feel like - and this is not just my head cold talking right now - I often, and this is going to sound weird, but I often feel like the guy who makes these movies is smarter than me. Smarter than the guy on the phone right now.

The only purpose of the visuals, in any film, is to serve the story.