Brian de palma

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.

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, I just think through your career you go through different phases, and I just got sort of uninspired by the whole studio process of making and releasing films.

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

I mean, I don't mind promoting a movie, or talking to the press if it's going to be used in some way.

The biggest mistake in student films is that they are usually cast so badly, with friends and people the directors know. Actually you can cover a lot of bad direction with good acting.

The real trouble with film school is that the people teaching are so far out of the industry that they don't give the students an idea of what's happening.

You know, when people want to get any information, research information, it will all exist on these Web sites.

I guess what's most surprised me in most of the reviews is that they don't seem to get the noir story in the dream sequence, so they analyze it like a straight noir movie.

I don't see scarey films. I certainly wouldn't go see my films.