The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.

I think - I don't know, maybe it's nostalgia. But the choice, losing the choice to be able to use film is going to be - it's gone. It's going to be gone.

I always felt a bit alone and isolated from other people...I did a lot of pretending as a child. It was my way of coping with the fact that I didn't feel like I fit in.

I wish I could say something classy and inspirational, but that just wouldn't be our style. ... Pain heals. Chicks dig scars. Glory... lasts forever.

If we're talking about the science fiction or action genres, I've always tried when I could to do them in a way that's not just cookie-cutter - that they bring something fresh or original to it, have some kind of ideas to it. I've been fortunate, in some sense, to do those kinds of movies that are unique.

I really took it in-house. The Constantine character has a kind of flesh-and-blood practical look at things that would seem, other people would use the word, occult or spiritual. But here, demons are real. So for me it was more taking it from the film itself. I didn't really need to go outside the piece itself to inform me because the perspective on it, what the character does, was provided by the script.

I did do some things different [in John Wick 2], but it's different on basically the same things. Because I have the background from the first film, it was really the first time I was doing judo and jiu-jitsu.