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Recording a scene with paint rather than film sinks you more deeply into your surroundings. You have to look a little harder and a little longer. And you end up with a memento.
I just saw Memento. It's very, very good. I watch a lot of French films.
That film 'Memento' creeped me out. I was looking over my back through the whole thing. I get more creeped out than scared and spill popcorn all over the place.
When I got the script for Memento, I read it and I got killed off on page one and I fired my agent.
I think one of the geniuses of Bound and The Matrix and Memento is the complete collaboration of the effort. There were no rotten apples.
I was a screenwriting major at Georgetown, and I was in class with some really strong writers like Jonathan Nolan, who co-wrote 'The Dark Knight' with Chris, his brother. He wrote 'The Prestige,' the story for 'Memento.'
A lasting marriage, they say, is one where the two reach for different sections of the Sunday paper. Me, I go right for the obituaries, just like those very elderly characters in Muriel Spark's spooky novel, 'Memento Mori.'
But 'Memento' was so successful, such a huge cult hit, almost on the scale of a large film. If that had happened, with all the acclaim, before the next job, I'd have found it very difficult to figure out what to do next.
Unless it's something very clever like 'Memento,' most independent films have a very tough life out there.
When a film like Chris Nolan's Memento cannot get picked up, to me independent film is over. It's dead.
