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.

Yeah, I had an idea to make a very scary movie, based on a kind of serial murderer that preys on tourists.

Well, like any time you're shooting documentary stuff, you've got to be in the moment, and you've got to be able to be in control enough to capture what's happening.

You really are as hot as your last movie. And it goes away really quickly.

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.

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.

But, number one, I think traditional noir doesn't work in contemporary storytelling because we don't live in that world anymore.

You know, I listen to contemporary music all the time.

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 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.

And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.

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've been sort of traveling around the country for ten years talking about independent features.

I'm always looking for a kind of new musical entity to sort of move into a motion picture venue.

I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.

However, I spent most of my time in a Quaker school.

I don't see scarey films. I certainly wouldn't go see my films.

Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.

That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.

I mean, I don't mind promoting a movie, or talking to the press if it's going to be used in some way.

I hadn't done just a straight-out comedy in a long time, just letting an ensemble do really good character acting, having them carry the movie as in my earlier pictures.

I do like directing other people's material.

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.

It's always great to discover a new star of tomorrow.

And we've become very doubtful of our information sources, because they're all controlled by these huge multilateral corporations.

However, ironically, I was baptized Presbyterian, and went to a Quaker school for twelve years.

The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.

The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.

You know, when people want to get any information, research information, it will all exist on these Web sites.

It's always great when you discover someone.

That’s what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.

Natural ability without education has more often attained to glory and virtue than education without natural ability.

My theatre background is probably more extensive then my film, and I have done a fair bit of television.

I don't have the best dating track record.

Kids can be harsh, especially when they get jealous.

I'm not afraid... I was BORN for this.

The big pay-off was to work as an artist and gain some shred of respect from your friends, who were also artists. But there was never any notion that you could make a living out of art. On the rare occasions you had a gallery show, and sold a little work, well, that was just gravy.

The hardest skill to acquire in this sport is the one where you compete all out, give it all you have, and you are still getting beat no matter what you do. When you have the killer instinct to fight through that, it is very special.

I think actors always have that fear of unemployment so when the opportunities are there, you just jump on them.

I don't think there's any topic a writer should feel afraid of tackling just because it has already been discussed. If you feel you have a fresh perspective and an understanding of a certain emotional truth, it's always worth writing.

Mexico takes a hard line on immigration, demanding that visitors to her shores enter lawfully, and show her respect during their stay.

We need three kinds of pitching: left handed, right handed, and relief.

If any of you have a desire to be mediocre, you will probably find that you have already achieved your ambition.

Part of an icon's power comes from its indivisibility. The swoosh cannot be further deconstructed into its component parts. Just as golden arches mean McDonald's, and the little red tab means Levi's, the swoosh is Nike. The product is its icon, inseparably and without exception. To buy a pair of Nike shoes is to buy the Nike swoosh.

If I go to a conference and someone tells me that they learned how to develop websites on Sitepoint and now they're a CTO at a company earning almost $200,000 a year, that lets me know that I'm doing the right thing.

My fault now is making my plays too short.

The English was really my mother, it was never me. Being the daughter of my father, I always felt very French.

I could run, but I was throwing 93 mph coming out of high school.

I realised when I sang at family parties and Christmases I'd suddenly get everyone's attention, and, being the youngest of three, I thought what a brilliant attention-seeking ploy it was.