If I feel like crying, I'll just cry in a dream. Something I really try not to do in my waking hours. I like good melodrama because it's just an undumping of all these compulsions we feel that we work so hard to master during our waking hours. No wonder we crash to sleep in bed at night. We have to, otherwise we'd just spend our waking hours shredding the feelings from everybody else.

If you sit in on a film class with students, their big complaint is "That's not like real life." They don't realize that they don't really want to watch real life. They don't want to sit and watch a security camera. There's a strong gravity in all of us as viewers - even in myself now and then - to want to see real life depicted. But you're looking for it in the wrong places. It's in little allegories, in something removed.

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 guess to the outside observer, all my movies look like musty old black-and-white artifacts, but my earlier movies had been more static and tableaux-ish.

Those are my goals, you know. To be smart, tasteless, and feeling. Something to shoot for.

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.

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.