My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.

My first jobs were at Pixar and John Lasseter just doing animation would always allow actors to do that, and then animate to that. It was an early lesson for me that, if you're lucky enough, as I've been in my career thus far, to get really incredible iconic people to do your stuff, you want them to tell your story and you want them to be on page in the important moments, and they usually are.

I was trying to get the slightly more cinematic version of my relationship with my mom, which I think was a really common relationship. I adored my mom. I thought she was the best. I loved her very much.

I'd always thought that, in all the great sci-fi constructs, there's always the guy who seems like he's the commander, but then you reveal that there's an even bigger puppet master up above and beyond him.

Nobody is out to sabotage an entire script and do an improvisational experiment of a movie, but when they're feeling something in the moment, let them make it their own. That's what makes them great actors.

Some of my favorite movies have explored the father-son dynamic, in a very loving way. It can be complicated, but at the end, it's that moment where you're crying because of that core relationship.

I told my mom I was going to do a movie about a son who hears a story about his mom and takes her on a cross-country road trip, and I wanted to actually take the trip with my mom to see what it would be like to drive cross-country with your mom.