I just respect audiences to understand that that's what goes on in movies. I just try to make movies that respect the intelligence of the audience. Respect that they understand that the narrator is always unreliable and respect that they understand that the medium can do whatever it wants.

No one ever gets to see Foley artists at work, and they're so strange. They see the world differently: things as things that might make sounds that sound like other things. They see the whole world that way - like when you're a house painter, all you see is a bunch of houses that need painting.

Making the ballet really taught me how to get things moving. Ballet dancers don't stand still.

Hollywood isn't exactly dragging me, or even aware of me.

It feels good to finally stand on top of vanquished sloth, and actually impress some people as a hard worker.

I literally designed and built the sets myself, and I kind of liked it. I always gave myself eight weeks to do that - sometimes even 10 - and the shooting took five or six weeks.

If I hope to survive, I have to acknowledge the natural selection that goes on when film stocks and cameras are eliminated from the world. And film viewers won't want to watch the same thing over and over again from me.