Maybe I'll paint, do photography, just something else. I can see that.

When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.

The best set was probably 'Bloody Sunday.' We had no money for extras and gambled on months of outreach to persuade the people of Derry to turn out and march for us on one single afternoon. And they did. In their tens of thousands. Seeing them march, their patience and their dignity and their commitment, I knew the movie would have a quality of truth.

The brief flashbacks are sun-kissed, summery and optimistic. It's the only place in the movie you will see red, yellow, orange, or any vibrant colors.

I guess I didn't feel confident enough to be searching in a big public way. I was very content at the time to toil in obscurity on things that I thought might point me in certain directions or teach me certain things - not knowing what that would be.

When we look at what's going on in the world and we see the immense level of conflict that seems to always be happening - you can always trace it back to competing narratives.

I've tried to get better about weighing what I think the accessibility of an idea is against the cost of executing it. I've tried to be smarter about that, because if you're not smart about that, you're going to be unemployed. But I'm still mystified about what works for people. And I'm not talking about my movies, I'm talking in general. I'm mystified by the stuff that doesn't work. I'm mystified by what's going on in the critical side, too.