You are always working towards the moments in which characters experience reckonings or insight or change. I like to track them past those moments.

You're trying to make the language work, and your subconscious is being allowed to make the deeper, more profound connections. It's much better than going at it all frontally. But you can't conjure it in an intellectual way; it has to come out of another engagement, a more intuitive engagement. Revision is where the intellectual, analytical work happens. At least for me.

I am, it seems, interested in people with multiple identities. I think we all have multiple identities.

Even a documentary portrait of a person that tries to be very accurate is shaped by the filmmaker in so many ways.

I find poignancy in the moments when a person realizes that she has made mistakes. I am not as interested in the mistakes themselves as I am with the consequences and how the person responds to her realization.

Your memories from your early childhood seem to have such purchase on your emotions. They are so concrete.

Tell me it's forbidden, unthinkable, and that's where I want to go. Because the chances are it's complicated, and the complications are meaningful.