I still have every record company sending every new, hot track to me, to do music videos, so I'm chained by the foot to pop culture. I still know what kids dress like and speak like, and I still hang out with them. It's just the nature of my day job. I am a freak of nature that has to understand them.

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.

You know that that thing is going to be as crisp and as clean, as many times as you want to watch it. So, I knew that the film was going to be watched multiple times, a lot like with music videos. Music videos aren't designed to be watched once. They're designed to be watched hundreds of times. On a certain level, the film was dream logic-ed, like a music video

It's a fusion of almost everything, in the way that I think society today tends to take cultural memory. Because there's an internet, it's on there forever. I think that's the way kids see the world today. They actually speak to each other using retro concepts now because the internet culture has kept that memory alive, constantly.

Even the way the kids react with media today is so completely different than what most movies have. We just wanted to make a movie that challenged them.

When I see a kid in a movie theater texting, I think it's a failure of the movie. It's not a triumph of the Apple iPhone. It's a failure of Warner Bros. and Sony, and all that, because they haven't kept their attention and challenged them. They're smart little kids that are bored, and I wanted to challenge them.

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.