Eventually, if you're the train that's leaving the station, people will race to catch up with you. I think that's one of the things I've figured out. You can't wait for permission to act, you just do; then people are like, "Oh, look at that person just doing over there. Maybe I'll come join them."

I couldn't be a novelist for instance. It feels like a very lonely endeavor. I don't know that I could survive the solitude of that.

For some reason, I have a very strange conception of time. I am constantly hovering at some overview, more macro.

The problem is if you play enough of parts in films that are sort of more financial products than anything or films in which the girl is a thankless, thoughtless, underwritten character along the way, you're no longer the person who had something fresh or vital to offer. I think it really does start to diminish some part of you, to put yourself through things you don't really want to be doing.

People go to the cinema to be moved; they wanna laugh, they wanna cry, they wanna feel something deeply, especially if they're not feeling deeply in their own lives.

I think there is a general unrest or curiosity about what a human future is going to be like, and whether the way we're living is even sustainable.

I think one thing for sure that you learn the more films that you make is how important it is to choose your collaborators.