I think generally I'm kind of interested in subjective experience, what goes on inside someone's head, that being all they really know of the world.

There are nearly thirteen million people in the world. None of those people is an extra. They're all the leads of their own stories. They have to be given their due.

I'm interested in art, and I think about the process of making art. It's part of my personality, my experience of the world, so it ends up in the movies. It's where my head is.

Every day of your life, you have information that enters your head, and that information informs your understanding of things, or shifts it, or changes it, or deepens it, or confuses you. Every day, every moment of every day - it's like this thing that happens.

People will say things after a screening that it affects them in a certain way, which is why I don't like to explain what certain things are about. I want them to have that. It limits people's ability to understand something if I say it's "about this." That's happened to us a bunch on this.

There's a point I can get to where I start writing character and then through the dialogue, after all of this preparation, the thing starts to feel like it's a character developing through the dialogue. A lot of character traits do come from writing dialogue, but I have to be ready to do it.

There is a lot of management going on with directing. Maybe that was the biggest surprise-just the amount of tending that I had to do. The different personalities . . . It's not my way, and it's never been my function before as a writer. I tend to be a moody and somewhat withdrawn person, and I felt very clearly that I had to throw that away because that wasn't allowed here - there were other people who were going to be filling that role. Sometimes it became exhausting, especially around the eleventh hour of the day.