On one hand it's very flattering to be compared to a big success, and then sometimes it's very frustrating because you want people to see the movie that you're making and not be continually comparing it to something that it's not. So it goes both ways.

To me, the movie is about power.

If a character is going to end up one way, you start them a certain way. If they're gonna end up the polar opposite of that, you might start them differently to have dramatic integrity to their journey.

At a certain point, I got interested in set design for the theater. I was interested in architecture, but I was taking photographs at the same time, and architecture, though it had the design element, it didn't have the narrative, emotional element that I was looking to do. I ended up painting for a while. I was dancing around it, and I realized that all these different interests came together in filmmaking.

But at a certain point you've gotta be ruthless with the movie because you can have these great scenes, but they aren't specifically building the story that needs to be built at that moment.

I'm working on a number of different things. I'm working on a couple of TV things and I'm working on a couple of film things too, and they're all very early stages. One of them I'm writing myself, one of them I'm writing with somebody else, and one of them I'm supervising a writer, and they're all sort of coming up at the same time and it'll be interesting to see which one kind of reveals itself first and jumps ahead.

It's like you might have some great scene that you love but for some reason - and you can't necessarily put your finger on it - the movie's not working or it seems slow or ponderous in some way, and even though it has your favorite scene in there, actually the favorite scene is the culprit. That's the painful thing about editing, is trying to locate those things that are holding the movie back and then having the guts to cut them. And it is painful to do it.