With 'Brick,' I wrote the script when I was 23 and didn't make the movie until I was 30.

My filmmaking background has really just been making movies with my friends since I was 12 years old. That's how I feel I learned how to tell a story visually, by just going out with a video camera and making movies with my friends and family.

The fanboy community can smell in an instant, like smelling fear, when something was tailor-made in order to reach them as a demographic.

You come out of each movie just thinking, "God, if we can fool them into letting us make just one more, we can get it right."

Back before 'Brick,' I wrote a short film that I never ended up shooting: hit men in the present who work for a mob in the future who send their victims back in time. A guy is sent his future self, he lets him run, and the whole short was them chasing each other across the city. That sat in a drawer for 10 years until after I made 'Brothers Bloom.

That's part of the appeal of time-travel movies: The notion of going back and fixing something.

I mean, the first “Back to the Future” is kind of a perfect script, I think. In terms of handling time travel the best, it depends on your definition. To me, that means it effectively uses it in the story.