I'm Taking A Bit Of

To Me, The Most Interesting Approach To Film Noir Is Subjective. The Genre Is Really All About Not Knowing What's Going On Around You, And That Fear Of The Unknown. The Only Way To Do That Effectively Is To Really Get Into The Maze, Rather Than Look At The Maze From Above, So That's Where I Sort Of Come At It.

I Try To Be As Efficient As Possible Because In My Process, I Think That Actually Helps The Work. I Like Having The Pressure Of Time And Money And Really Trying To Stick To The Parameters We've Been Given.

If You're Going To Perform Inception, You Need Imagination. You Need The Simplest Version Of The Idea-the One That Will Grow Naturally In The Subject's Mind. Subtle Art.

What I React Against In Other People's Work, As A Filmgoer, Is When I See Something In A Movie That I Feel Is Supposed To Make Me Feel Emotional, But I Don't Believe The Filmmaker Shares That Emotion. They Just Think The Audience Will. And I Think You Can Feel That Separation. So Any Time I Find Myself Writing Something That I Don't Really Respond To, But I'm Telling Myself, 'oh Yes, But The Audience Is Going To Like This,' Then I Know I'm On The Wrong Track And I Just Throw It Out.

George Lazenby Is No One's Favorite James Bond, But For Me The Anonymity At The Center Of This Lavish Production Only Serves To Reveal The Bond Machine Firing On All Cylinders: Superb Editing And Photography, Incredible Score, Great Setpieces. The Most Romantic In The Series, And It Actually Has, Of All Things, A Tragic Ending.