But I did on projects that I produced, that I directed, that I acted in because it was important. I want to be a filmmaker. I don't want to be an actor who directs, I want to be a director. I want to be a filmmaker. So that's a big difference.

You can’t do psychological thrillers. There’s no audience. I’ve heard this. I’ve heard this from studios.

The Sixth Sense is not a good white film. Insomnia is not a good white film. They’re just good films. So why we can’t we have good films that happen to have black people, or Asian, or Latino, or any other minority group in them?

I think American cinema, particularly, has become so disposable. It’s not even cinema, It’s just moviemaking.

So that, to me, is important that audiences are treated with an amount of respect toward their intelligence. Most Hollywood films don’t respect their intelligence.

Well that’s the point: People don’t normally take away things from films anymore. You go and see a $100 million film, half an hour later, your biggest concern is what are you going to be eating.

I don’t see me doing $100 million films because $100 million films, the very nature of them, you need to offend as few people as possible just to make your money back.

Regardless of what people ultimately think about Crazy As Hell, It’s not the type of film that, ten minutes after seeing it, you’re only focused on what you want to eat.

But I try not to become preoccupied with that because with whatever direction I follow, with whatever advice I’ve followed or not followed, It’s landed me in New York, in a very beautiful hotel, talking to people about something that I love. So I ain’t that far off.

Maybe It’s not the biggest blockbuster film, but there will be some people that will see it, that will be debating it, that will be questioning their own sense of spirituality. If the film resonates, then I have succeeded in what I set out to do.