I've dropped myself into straightforward character pieces in order to explore that form and reap its values. But you are sort of restricted visually when your first requirement is to tell a fairly straightforward story.

Godard is incredibly brilliant, the things he says. Apparently here in France, the most interesting thing when a new film of his is going to come out are his press conferences, because he's so brilliant.

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

However, ironically, I was baptized Presbyterian, and went to a Quaker school for twelve years.

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 do like directing other people's material.

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.

And I always had this idea for making a movie about a femme fatale, because I like these characters. They're a lot of fun, they're sexy, they're manipulative, they're dangerous.

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've been sort of traveling around the country for ten years talking about independent features.

However, I spent most of my time in a Quaker school.

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.

So I like to try to go back and develop pure visual storytelling. Because to me, it's one of the most exciting aspects of making movies and almost a lost art at this point.

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