There's obviously something that feels very good about being with a new filmmaker who's very excited, but I also think there's something very comforting in a director who's been around a few times. Both have their pros and cons.

The experience of making a movie, you start to see it everywhere. It's just this amazing mechanism that your brain does because it just so badly wants to be helpful and keep all the information that you need as accessible as possible.

I'm so used to swimming with the piranhas. And they're really not that bad.

I had started acting when I was 7, and I was always wrong. I would always get to the very end [of the audition], but I wasn't a perfect package of one thing. I wasn't a cliche, and it always worked against me. I wasn't pretty enough to play the popular girl, I wasn't mousy enough to be the mousy girl. Then there was a TV show that Toni Collette was starring in. And when a role to play a girl who was struggling with identity came, I thought: "Oh, this is what I was supposed to do. Everything's leading up to this moment." I was 18. I was like, "This is it." I didn't get it. And I was devastated.

I'm learning with the older that I get that some feelings are just universal and that I'm not the only one who hates their hair or their life at times.

I'm looking for something to laugh over. After long enough, your body just needs to keep the hydration. You can't keep crying it out.

I have always been really picky about the films that I make, because I think that there's such an incredible opportunity to bring up questions when you're making movies, and some of my favorite films bring up big questions. They are movies that, when you walk away from it, it hits you as something deeper, and it's a great, fun way to be able to bounce around some of these harder concepts in our heads.