Sometimes I am more interested in the richness of the material with all the stuff we've done which all tell a story to me rather than any single film career I could have, because I really do find myself interested in other people's ideas. I just want to be responsible with an array of things that engage me and feel vital, opposed to the corporate media out there that is just about making the loudest noises possible.

I really think in life there is a lot of mystery and things we just can’t understand and your brain has to adapt... We all have to deal with the twists of fate whether they are explained or not and it’s how you react in life to these curveballs that is really the measure of a man.

I went to good schools, and I've just always had an allergic reaction to snobbishness - always found myself preferring to blend into the woodwork. I have an affinity to those who, in a sense, failed.

It's always different, depending on the writer and the director. A collaborator like Graham Reznick delivers a fully finished piece, perfected in every way. Other writers direct the recording session and then leave quite a bit of the work to us.

In my films quite often, paranoia usually leads to the truth so it is kind of a psychological state of mind to think that what you fear may come true, and those are the types of stories that I like to tell.

The unknown is the most frightening and mysterious thing, especially in the modern world where we can practically Google anything and find out the back story. I think to have that element of mystery it almost creates a frustration that is closer to real life.

Sound and sound design has always been very important to my approach to film, because it is a more subversive and allusive aspect of the medium.