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

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.

Scientific corporations might well become almost independent states and be enabled to undertake their largest experiments without consulting the outside world - a world which would be less and less able to judge what the experiments were about.

And also, more and more businesses really want to do the right thing. They feel better about themselves, their workers feel better, and so do their customers. I think this is equally true in the transnational corporations, but it is harder to express in those situations.

But I believe in fair trade, and I will tell you, I have many, many friends heading up corporations, and people that do just business in China, they say it's virtually impossible. It's very, very hard to come into China. And yet, we welcome them with open arms.

The corporations don't have to lobby the government anymore. They are the government.

Most of the services staff is for the larger corporations, not so much for small and medium businesses because they cannot afford an extensive services army.

Large corporations and unions know the power of being big enough to bargain for better rates.

Who gets the risks? The risks are given to the consumer, the unsuspecting consumer and the poor work force. And who gets the benefits? The benefits are only for the corporations, for the money makers.

The corporations and the media don't need power; they already have it.

Basically, what Economic Hit Men are trained to do is to build up the American empire. To create situations where as many resources as possible flow into this country, to our corporations, and our government, and in fact we've been very successful.

It's only in relatively recent years that Hollywood became the playground of multinational corporations which regard movies and TV shows as a minor irritant to their overall activity.

People like me have to have the discipline only to work for clients, corporations, political people, products, services, networks that we believe in and we want to see succeed.

The great corporations of this country were not founded by ordinary people. They were founded by people with extraordinary intelligence, ambition, and aggressiveness.

Corporations are social organizations, the theater in which men and women realize or fail to realize purposeful and productive lives.

Of the five House Calendars, the Private Calendar is the one to which all Private Bills are referred. Private Bills deal with specific individuals, corporations, institutions, and so forth, as distinguished from public bills which deal with classes only.

The financial capital is being concentrated by corporations, institutional investors, and even our pension funds, and being reinvested in companies that repeat this process because it provides the highest return on that financial capital.

Groups are corporations now. They have pension plans. Musicians have saw the daylight.

TV that people will never see, that giant international corporations will never touch, will never pay your salary.

Now you have people in Washington who have no interest in the country at all. They're interested in their companies, their corporations grabbing Caspian oil.