You go back to those films of the '40s and '50s and hear the dialogue, the way the people played off each other, the wordplay. I think we've really lost that in movies.
In this age of consumerism film criticism all over the world - in America first but also in Europe - has become something that caters for the movie industry instead of being a counterbalance.
No critic writing about a film could say more than the film itself, although they do their best to make us think the oppposite.
Where I live, nobody who's fourteen is having sex and doing major drugs. And I think if you see it in the movies, you may be influenced by it. I think it's so important to preserve your innocence.
So how critics will perceive your film or your work, or whether your movie is going to make $100 million at the box office, or whether you are going to be winning any awards - well, you have no control over that.
All of us have read the stories about young people in Hollywood and all the challenges they have to confront there, and I think that artistically, I really didn't understand the commercial side of the film business, so I went back to a purely artistic setting.
I'll tell you, I think that the Internet has provided an enormous boost to film criticism by giving people an opportunity to self publish or to find sites that are friendly.
I always start with characters rather than with a plot, which many critics would say is very obvious from the lack of plot in my films - although I think they do have plots - but the plot is not of primary importance to me, the characters are.
I'm glad movies aren't going to please everybody, they can't. But what they have to be is recognisable. I don't equate myself with a master painter, but I think you can recognise my films.
I think I have always tried to do the smaller films. I like to jump around and there is something really nice for acting in a smaller film. But I think now, Hollywood's movies certainly involve a younger generation for the most part and so... I love going back and forth.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
I'm proud of all the movies I've made. They're not sequels, they're not franchises. And the reason I pick my films carefully is that I don't want to spit on my life. I like to think of myself as more than that.
I don't think any actor feels comfortable watching themselves in movies. You must be very narcissistic. The problem with your own opinion of yourself is that contrary to the normal spectators, when you watch a film you are in, you only watch yourself.
Of course the French are making very credible movies and it is still one of the greatest nations in terms of world cinema but the real problem is the decay in film criticism.
I think the character does tend to suit an episodic thing, because what's fun about him is that he doesn't care about anyone else, and it's very difficult for a main character - a lead character - in a movie to not care about anybody else.
Movies absorb our attention more completely, I think.
But, although these films express many similar ideas from my previous films, I think they express these ideas in a different way.
Movies are not about the weekend that they're released, and in the grand scheme of things, that's probably the most unimportant time of a film's life.
I suppose all of my films have a common theme. If I think about it, though, the only theme I can think of is really a question: Why can't people be happier together?
The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.
Not only do I have to live, right, I have to get some cash for my troubles - it's a scary thing, and people need to start to think about the messages that they send in the movies.
Jack Black is incredibly hilarious. I think he's really appealing, so sexy. When I watched the movie, I really thought he was sexy.
I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.
The mind ought sometimes to be diverted, that it may return the better to thinking.
I wish I could be like Shaw who once read a bad review of one of his plays, called the critic and said: 'I have your review in front of me and soon it will be behind me.'