As a writer, or as a filmmaker, you have to present yourself, and part of what yourself is is what you're interested in, or what you think is funny, or what you think is sad, or what you think is horrible.

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.

I'm not working on anything. I was trying to write something new . . . I guess the goal for me now, at least at this point, is to try to direct again.

I know that as a very young child, I was afraid of death. Many children become aware of the notion of death early and it can be a very troubling thing. We're all in this continuum: I'm this age now, and if I live long enough I'll be that age. I was 20 once, I was 10, I was 4. People who are 20 now will be 50 one day. They don't know that! They know it in the abstract, but they don't know it. I'd like them to know it, because I think it gives you compassion.

The conventional wisdom is - people say this all the time - you should only write something when you're far enough away from it that you can have a perspective. But that's not true. That's a story that you're telling. The truth of it is here, right now. It's the only truth that we ever know. And I'm interested in that truth and the confusion being part of the experience and sorting it your way through and figuring it out.

People ask me all the time, "What are your influences? Are you trying to do Beckett?" It's like, "No, I'm trying to do me." Whatever that is. I don't know what that is, but that's the basis. I'm trying to be true and I'm trying to be honest.

I think I've had pretty good experiences for the most part with the people who have directed my screenplays.