If you look at Cinderhella, from a production design aspect, I tried to find an interesting, iconic character, having her face wrapped up in bandages. That was funny. On the dream logic level, you'll see the parallels of that interesting connection that I made. There's a reason why she's called Cinderhella.

I don't turn Britney Spears into a star. I have to spot that these people are going to be stars, in the future, and say, "Okay, these guys have cultural validity and they're going to pop."

I have a day job that's very odd. Most people, by the time they're 25, glom onto one kind of music and that's what they listen to for the rest of their lives.

If you really like a movie these days, you don't watch it once, especially if you're a kid, because you have a different relationship with media. You expect that to be on your hard drive, and it will look just as good, any time you watch it. It's not like VHS, where you watched it a certain amount of times and it started fading away.

I'm imagining there's a particular audience out there that's younger and older, too. It works on two levels. Do they exist? I don't know. I had to make it to find out if it does. When you do something this experimental, that's part of the process and part of the risk. I only spent my own money, so that I'm the only person that gets hurt, if it fails.

If you look at Cinderhella, from a production design aspect, I tried to find an interesting, iconic character, having her face wrapped up in bandages. That was funny. On the dream logic level, you'll see the parallels of that interesting connection that I made. There's a reason why she's called Cinderhella.

I don't think the film is going to work for everybody, period. It wasn't meant to be done for everybody. I didn't four quadrant this movie, like Hollywood did. I knew it was a very specific audience that was there. We're also taking a shot in the dark.