Tony Scott's style is unmistakable. He has developed a look all his own since Enemy of the State back in 1998. It then continued through such films as Spy Game, Man on Fire and even his short film for the BMW Film Series called "Beat the Devil." A mixture of subtitles, jump cuts, techno and color saturation has become his moniker and those who love it can't get enough of it and with Domino he takes it to the next level.

With the look of a music video Domino is told through a series of quick flashes and echoes as it sometimes plays forward and sometimes backward. As narration collides with subtitles Domino is not only an exercise in satirical storytelling it is also a visual feast for the eyes.

Scott managed to take the style he began with Enemy of the State and Spy Game and transform it into what it has become, but he still believes the maxi-commercial he shot for BMW Films was what kick-started it.

"When I did that commercial that was an experiment for Domino, outrageous characters, and also stylistically as well," Scott said. "I took some of that into Man on Fire, but you will see in my next movie (Déjà Vu) it will be very different. All my style is motivated by the tier the characters are on and motivated by the world I am touching. I always saw [Domino] as bounty hunting on speed. That was the nature of the various encounters I had had over the course of those 12 years."

Well one way to describe Domino would be to compare it to a mind-altering upper, because it moves at that pace the entire time, but what exactly does that flash-bang style lend to the film?

Keira Knightley, the star of the feature, said, "I think it is one of those films that it depends on what sort of mood you are in when you see it and you'll take out exactly what you want to take out of it and that is what I love when I see films is when it reflects the mood I'm in."

Scott expanded on Knightley's statement saying, "You know, when you see it with a young audience, it's funny because in the one sequence when Edgar goes back and blows the guy's arm off, the kids are laughing because it almost seems like Monty Python. They're not laughing because they're twisted kids. It's funny because it's almost Monty Python-esque in a way…"

That comment honestly sums up the film in a nutshell, while the nature of the story is extremely violent, dark and disturbing, it is told in a way that is at time ridiculous, but purposely ridiculous. So how exactly did Scott decide Keira Knightley was the right actress to take the lead in such a film so far out of character from what she had done in the past?

"People tell me it's odd the reason I cast Keira," Scott said as he informed us his decision was based on Knightley's role in Pirates of the Caribbean, more specifically the "scene where Johnny [Depp] grabs her around the neck."

He continued by saying, "It is difficult to articulate why you respond to somebody and why you cast somebody but it always comes from your gut. The spontaneous response is the best. But that is hard in Hollywood because you always have ten other people giving you fucking reasons why you should or shouldn't use this particular person. Fortunately now I am in a strong enough position that I can say, 'Fuck off, leave me alone. I am going this way.'"

So with his leading lady set how did he decide his style was right for this film, how does he make it fit?

"My style is always driven by my characters and the nature of the roles they are involved in," he said. "So, there was some of that in Man on Fire because that was an in-depth study of revenge and also a guy who's paranoid. If he thought it, I saw it. That was one painting, and Domino is another painting, I took some of that idea to Domino. If these characters thought of a world I should see it."

As Scott draws comparisons between Domino and Man on Fire it should be mentioned that the two films, while both violent, are far from similar. Domino bounces around from comedy to drama in a way not many films before it have.

With the likes of Christopher Walken adding a lot of comedy to the picture, Mo'Nique, a well known female comic, played a far more serious role and I was not the only one taken aback at this technique as Delroy Lindo explains, "You know, that surprised me, that actually surprised me. I remember reading the script and there were some instances where I was laughing out loud, I found the script to be very funny. But the film, the finished product, is more serious than I had anticipated, but that's not necessarily a bad thing."

So where exactly did Scott draw the line between serious and comedic?

"I think that's what is great about the film," Scott said. "People ask me what the movie is about and I say to them, 'Well, it's a little bit of Royal Tenenbaums, it's a little True Romance, a little Taxi Driver…' I always love extremes; extremes with humor; extremes with sweetness; extremes with emotion; extremes with danger and this is just this fucking wild ride, a wild adrenaline journey… You've got this guy blowing an arm off with Tom Jones playing [in the background]."

When asked whether Scott's directing style matched up with this music video style of editing Knightley laughed and said, "Yes! It's brilliant. It's a lot of bad language and a lot of energy. What's brilliant about being on set with Tony is you can't feel tired because the energy is nuts and you laugh from the minute you get in in the morning to the moment you leave at night and so the atmosphere on set is sensational."