Shredded feelings are the fuel that feed the machinery of melodrama. And good melodrama just has honest feelings and is honest about the way people interact.

I love melodrama. I love the simple fact. When you read Euripides he's a page turner. It's like reading a Mexican comic book romance.

Thank God I've never been taken to task on a talk-radio show. I won't go on a talk-radio show.

I wandered around in a confused daze for most of the '90s unable to even remember why I wanted to be a filmmaker and somehow I found myself at the turn of the century. I used lost film as an excuse to express myself.

If I want to keep making films for a few more years, I probably should be willing to adapt. I've sort of evolved into the filmmaker that I am because of natural selection anyway.

I define melodrama as truth uninhibited. It's the kind of truth we dream about. Rather than melodrama being exaggerated, it's actually uninhibited. And it's a big difference - people look down on exaggerations, but I think they should look up to the un-inhibitions.

Whatever experimental film aromas cloaked my movies were because I'm a gleefully clumsy, primitive filmmaker. I really like traditional pleasingly narrative films, but I also just couldn't resist throwing in the disruptive. It seems to me that art-house film is at its glorious zenith right now, maybe it can even get better? There's just so many good films, you know Cemetery Of Splendour, Arabian Nights, Miguel Gomes, just so much great work coming out.