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Joel Corcoran: The only confounding thing about Alex Proyas is why he doesn't take on more projects. He's obviously talented, has a good eye for directing, and has proven himself in movies and music videos (so he's demonstrated some range). His major films have been well-reviewed, with I, Robot being a huge commercial success as well. But then he spends time on very small pictures that you'd expect from a newly-graduated film student. I just don't get it.

Max Braden: I don't want to say his talent is on par with Daniel Day-Lewis, but if he's as picky and that results in quality movies, it's hard to argue with his pace.

Daron Aldridge: I don't think that you can really credit Alex Proyas for the success of any of the films. The Crow had an intriguing look but its profile was raised because of tragedy which helped get it to that $50 million total. If I remember correctly, the summer of 1994 was a crowded one with the next four weeks seeing the opening of Maverick, Flintstones and Speed. All of which quickly pushed The Crow out of the top ten. It is also highly doubtful that people went to see I, Robot or Knowing because they were Proyas films. Dark City is probably the only one that cashed in on his name/fanbase and we know that it didn't revolutionize the box office. Again this is not a judgment on his talent, anymore than Cage's appeal is a validation of his talent.

Kim Hollis: I don't know what to do with Proyas. He seems like he's fairly visionary in his ideas and creative approach to things, but then he's been sort of in the mainstream rather than doing more edgy fare like Dark City. I can't imagine that makes him very happy. He seems like the type to want more cult success but I suppose money talks.

David Mumpower: I'm exactly the sort of movie viewer Proyas would hate. I liked his Hollywood blockbuster, I, Robot, and I loved his comic book adaptation, The Crow. Meanwhile, I found Dark City to be overwrought, pretentious nonsense and thought Garage Days was total dreck. Clearly, I only like his mainstream work and it's people like me he resents because we're the reason he's forced to work within the studio system. I strongly suspect this is the reason why he is so methodical in picking his projects. It's for this reason that I have a world of respect for him. He's found a way to compromise on his projects without compromising on his point of view. In the process, he's figured out a way to make movies that make money without dumbing them down for mainstream consumption. He's the moneymaking version of Terrence Malick.

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