I want to make big movies - but I don't want to have to die a little death every single time I do. Until I meet the people or the studio or the business people who will let me do things a little bit more the way that I need to do them, I probably shouldn't be making big studio movies.
What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.
I think we forget that part of parenthood means having to face and reject or face and embrace a kind of animal capacity for unkindness. And if, when, parents do embrace that, it reveals something very ugly to oneself.
I'm ultimately drawn to film many kinds of stories if they are sort of about unlocking the secrets of our human potential.
The nice thing about movies is that you can sort of steer your audience toward seeing that there's discomfort, but there's also this sense of, 'Well, we'll tolerate this weirdness because maybe it'll be interesting.'
A lot of the best suspense operates on a careful withholding of information as opposed to the doling out of information.
