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

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

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

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.

It's always great when you discover someone.

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

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.

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, 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.