As filmmakers, we can show where a person's mind goes, as opposed to theater, which is more to sit back and watch it.

Turning 30 was when my parents both got cancer and were fighting it and beat it, but their mortality started to get to me. Everything wasn't as hunky-dory like it was.

I think it's my nature to try and make original content, and that's what I've done, is just try and approach things in an original way, and do things differently.

Classical scores go up and down; they're kind of hysterical in a way. And movie scores are much more - they just drive and move forward, and they build and can't go up and down at that same speed. It's a big job to turn that into something that pushes the movie along.

I remember the few times that happened to me in writing, where you basically start writing and you look at the clock and six hours have gone by and you're, like, "Whoa! What the hell just happened?" And that piece ends up in the final product even though the final product is three years away. It doesn't get rewritten. It came out the right way. But that's happened to me so few times in my life.

Casting ethnic characters is a very hard thing to do, but it's important. It's also interesting.

Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.