Your movies to this point have such power over me when I see them in the sense of making me feel as if I was captured in a nightmare from which I can't wake up. Looking at the "monkey" and then I describe it to my friends, I realize: "Oh, this sounds like I describe the strange dream I had." Do dreams inspire you at all in your work? Do you have an interesting interest in trying to translate that experience on the screen, or is it just a by -product of your work?

It happened to a number of interviews I give, as far as I do comes from an unconscious place. Usually, what I create comes from the things I absorbed and forgot, or absorbed and has sufficiently lowered into the sludge that is now unaware. And things will come out, especially during writing such a movie, where I once absorbed the story, I have never looked at it again. And then I was surprised after I wrote and made the movie to look at Steven King's book "On Writing" and to understand how much of what I read years Before that, I used in the film. The relationship with babysitter, things with parents - many things were taken from it and I completely forgot about it.

So I don't know that dreams necessarily ... I'm not someone who wakes up and writing their dreams and then uses those things. But I think the unconscious work in my favor. I have been able to connect in the process where I don't even know it's happening, which I suppose makes sense because it is unconscious.

But was it something conscious by your part, or is it more unconscious about incorporating your style to this film?

I think it's really just a matter of doing what is needed, right? And so, if you look at everything you create as a task, either from a boss, or it's from your spirit, or is from an idea you had, or it's from the muse or the source or what you want to call. This task is given to you to honor this thing that exists whether you want or not, or exist - whether you do it or not, it's there. And my job is to find it and put it in my place, or give it shape, give it shape, and then give it.

So, with this, the watershed of things, it's like, "Well, I gave me the opportunity to do something to Steven King. Oh, it's a "monkey". "Toy monkey is just like this all that all, whether you can verbalize it or not, has something to see a monkey for toys as it is, which is an unusual thing where What you are excited about, but you think it is a kind of cute and kind of funny and kind of playful, but it's terrible. There is this strange relationship with that. But I knew everyone had something about it, so I knew the poster would be a monkey. It just had to be, what else would it be? It's like a monkey f - ing. That's the title, that's something.

And then you see the smile on it and you are like, well, you could go in an obvious way with him and make a wicked smile that is dark. Or you could go for the leuer and feel like it has the type of cheek. It has a surreal type of cheek for this. So, he just evolved that I didn't see myself trying to make a serious toy movie. And also, just the fact that it was a meditation of death, felt like a boomer. If you want to do it gradually, you may give up. It's a pretty awkward topic to talk to most people, so you can set it up with a smile.