There's a science fiction project we really want to make, but it's very expensive. Hopefully it will happen.
We tried to make a movie that had sex and violence because we like sex and violence.
My ideas are always better. We have an understanding in place.
I don't know why directors sign on to these projects and completely rewrite everything.
With Bound, we wanted to pull at conventions, because you begin to wonder, Why do these stereotypes exist? Where do they come from? You use that as the subtext.
We really want to see how the idea of an intellectual action movie is received by the world.
I read The Odyssey all the time. I always get something out of it.
Bound, we knew it was going to be about lesbians. We made it for people who are kind of like us, who are generally kind of bored by movies today.
Richard Donner is one of the few directors in Hollywood that can make whatever movie he wants exactly the way he wants it. No one will stop him.
Billy Wilder is really is a heavy influence on Bound. We felt that film noir was a genre where you could create a really contained story. We wanted to be on a set as much as we could to get the kind of style level we were looking for.
We had this idea about a woman who you would see on the street and make a host of sexual assumptions, and they would all be wrong.
If audiences are sort of interested in movies that are made like McDonald's hamburgers, which do have a value in the world, then we have to re-evaluate our entire career.
We're both very very lazy, and having someone else do half the work is very convenient.
You can kind of tell what's working and what isn't. We work on part of the script ourselves and then switch. And we rewrite each other's stuff.
With a genre like film noir, everyone has these assumptions and expectations. And once all of those things are in place, that's when you can really start to twist it about and mess around with it.