We were walking a fine line, making it a sort of challenge for audiences to figure out what's going on without clues except what you're listening to, but at the same time, we wanted to make sure we didn't leave the audience completely at sea. I'm still not sure which bucket we finally tipped it into.

[Not that the story makes any better sense.] This one, ... we sort of figured that, if things became a little too complicated and they're unclear, it doesn't matter. I mean ... this is similar to Chandler. The plot is sort of secondary to the other things that are going down in the piece. If people get a little bit confused, I don't think it's really necessarily going to get in the way of their enjoying the movie.

It was sort of imagining him in the context of a (Raymond) Chandler kind of story that got us started on the script.

The architecture of a story can be a little bit different if it's a true story.

We really haven't marketed to that group. I'm not sure why. We market to urban audiences.

I've never really understood that. It's a funny thing; people sometimes accuse us of condescending to our characters somehow-that to me is kind of inexplicable.