Everybody's trying to hold onto some shred of dignity in the process of it all, and, at the same time, never talking about how they don't have the power. No one has the power. So, you know, producers - we always think, "Well, producers are very powerful," but producers don't really have the power.

All I try to do is create an atmosphere that seems comfortable enough, that it removes tension and everyone feels free. If they feel free then behaviour happens, small moments happen and that's what ultimately works the best for me.

I don't know that you can do an absurdist film and just have everybody embrace it in terms of filling out cards. I just don't think it happens. So you have to prepare an audience.

I think we are seeing a radical shift in the business in general. The studios are making much more of the real big extravaganzas and there are other kinds of films that are coming out. I think you are going to begin to see more diversification that we've seen in the past.

I worked at a local television station and I got a chance to direct and do all those things - worked kiddie shows, Ranger House show with the hand puppets and things like that.

First of all, just to get Diner made would have been an achievement in that I got a chance to direct.

I'm emotionally invested in every movie that I do, period, because you've got to make that commitment. You're spending a year, 18 months of your life doing it. I'm invested in all those kinds of pieces. Most of the films I've had in my career have never tested well. I got lucky that sometimes I got supported by studios - or, at least if not supported, tolerated.