So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.
When you make a movie outside the system and it's successful critically or a moderate financial success, you usually have to go back into the system and make a big hit.
Well, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.
I do like directing other people's material.
But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore.
You know it's always amazed me - I think the most startling thing that's happened in the last couple of decades is that there is no sort of objective reporting anymore.
I've been obsessed with this kind of visual storytelling for quite a while, and I try to create material that allows me to explore it.
I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.
I don't see scarey films. I certainly wouldn't go see my films.
You know, I listen to contemporary music all the time.
However, ironically, I was baptized Presbyterian, and went to a Quaker school for twelve years.