One of the huge advantages of shooting in the winter is that locations that wouldn't have been available to us suddenly were, like Yorkville. ... It's just specific streets and specific angles. I think that's what's always kind of shocking about some cities: they are really about intersections.

As a producer, I think one of the most important decisions you make is not necessarily the material you are working on but the production apparatus that you choose to develop the project with, and that determines what funding you go to, it determines many factors.

I think entire social groups are formed through technologies that could never exist in the real world, and relationships that are a function of these technologies' ability to accelerate feeling and emotional contact.

Though I am still very vulnerable to audiences—and it happens all the time - where for some reason the energy doesn’t connect and, since the film is very personal, obviously I am made to feel very vulnerable by that.

I believe my signal of maturity as a filmmaker iswhen I'll actually acknowledge the fact that the first take is usuallythe best.

One of the huge advantages of shooting in the winter is that locations that wouldn't have been available to us suddenly were, like Yorkville. ... It's just specific streets and specific angles. I think that's what's always kind of shocking about some cities: they are really about intersections.

Sometimes you think you want to know something, but it's actually more exciting and more resonant when you have to try [and figure it out].