Children make you confront your own childhood. Which I think is common. Suddenly you're remembering your own parents as parents, not to mention the fact that you're confronted by them as grandparents. So you also have that terrible shock, a mirror image of your own. You suddenly seem to be so helpless in the face of young children. And you think, "How did you ever bring up me?"

If you're doing a classic play, where if you do a Chekhov, you do the words as written. You can't do that with a novel; you have to do your version of the words as written.

Now Im back home, living in London, running my theater. I just want to enjoy all that.

I still can't quite believe it. Although there was something about the fact that it was a first-time writer, a first-time producer, and a first-time director all at the same time.

The joy of a road movie is its very simple narrative nature, which is that you know you're going to go through different places and you're going to meet new people. At the same time, you have to not make it feel too obvious and too crudely episodic.

I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.

The moment you have kids, you are prey to judgment, but you also become a judge. You find yourself going, "Can you believe what she did with such-and-such?" at school.