I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'
A lot of the best suspense operates on a careful withholding of information as opposed to the doling out of information.
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.'
I'm ultimately drawn to film many kinds of stories if they are sort of about unlocking the secrets of our human potential.
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.
What makes a lot of suspenseful films work is very, very particular points of view and very subjective use of the camera.
