If you want to make movies you need to think on a micro-micro level and figure out how to make them for nothing with people who really care about your movie and really want to make it.

I've always been drawn to a certain kind of dark aesthetic in cinema and in film, to what's abjected or considered abject. I've been tremendously influenced by noirish cinema whether that's Von Sternberg or Scorsese in the 70s or Lynch, etc.

I'm sure there are directors who don't like to work with actors and don't know how to be sensitive to actors.

Every relationship I've been in becomes long-distance because of work. It's never worked out. It puts an intense strain on the relationship, and at a certain point, it becomes too difficult.

When you don't understand the fashion world you're just grateful you get to wear good clothes.

I need what I'm thinking to come out into the world, even if it's a two-word approval, like, "Yeah, I agree," I need that approval so that in the morning I can get up and use that when I go to work. It's a weird version of focusing.

I've been lucky to be able to work with great people and on interesting material.