My conception of it was that in a normal film you have a story with different movements that program, develop, go a little bit off the trunk, come back, and end.

For me, the filmmaking has to be about the dramaturgy.

But everyone gets burnt, don't they? Certain things are outside of your control. I suppose the only thing you can learn as a director is to not put yourself into situations where it can get outside of your control. And that's what happened.

And I think I often choose to do something because it's quite different from what I've done before.

The great thing about fairy tales and myths is that they go beyond character. They're not about character. They're about more basic things. They're about basic fears or longings or desires or fantasies, and stuff like that.

Well, if you're talking about the current climate, there's a lack of content in American film because I think people are deeply confused about their emotions, and they don't regret certain aspects of their own foreign policy.

I just got back from New York, and I realized in New York, it's very difficult to hear a New York accent. It's almost impossible, actually - everybody seems to speak like they're from the Valley or something. When I grew up, you could tell what street in Dublin someone's from by the way they talked.