But when you're writing a script - for me anyway - you have to sort of create an enforced innocence. You have to divest yourself of worrying about a lot of stuff like what movies are hot, what movies are not hot, what the budget of this movie might be.

It's almost Twilight Zone y. There's an appeal to that longing for an imaginary pasta yearning for an innocence that was never so pure anyway. It's meant to be recognizably real, but it has to play as mythological as well. That's part of the balancing act.

The problem with doing a schlocky or big budget studio film is that it wouldn't actually be fun for me. It wouldn't be exciting.

I remember somebody saying to Joel Schumacher about one of his Batman movies, 'Isn't that over the top?' ... And he said, 'Well, nobody pays to see under the top.' I wish I could just say that. But I think you learn something when you go to extremes.

If you put yourself in a group of people you cannot work with it's obviously going to be a disaster.

The filmmaking process is a very personal one to me, I mean it really is a personal kind of communication. It's not as though its a study of fear or any of that stuff.