I like the way corduroys feel. I like the sort of jean aspect of corduroys, but also the texture of them. They probably remind me of my childhood, too, I think. I wore cords, and my dad had a corduroy jacket.

I thought at the time of my parents' divorce that I was upset by deeper, more profound things and I was just taking it out on the joint custody agreement. But that disruption was bad enough. That was a huge deal for a teenager.

We all have these notions of cool that come about at different points in our lives, and it's interesting in how it evolves or doesn't evolve in different people.

That's the nice thing about collaborating with someone: Your work becomes a conversation.

I'm interested in the way major events don't necessarily announce themselves as major events. They're often little things - the drip, drip of life that changes people or affects people.

When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.

How you start the movie is critical. And how often you feel that there's no reason for how it's starting.