There's nothing better than having a collaborator that you have a great shorthand with and a great comfort with who's shepherding the project along. I mean, that's the best thing that can happen in cinema where there's many cooks in the kitchen.

The endings for all my characters seem sufficiently human and messy for me to feel comfortable with them. In some ways they have only moved an inch, but sometimes an inch is a great distance.

I think what makes compelling fiction or cinema is when you're basically taking the most intense moments of experience and you're creating a song or a narrative out of it.

If something - if you have a good rapport then you're friends and you're offered projects together or you discover stories together. Jennifer and I discovered this story together, and it was evident to us we would only do it with each other.

I think if religion closes discussion or exchange of ideas or curiosity about other views, it's not true to its core.

And if you can come through that and still have some connection to your joy you felt when you were a child that's a very mature kind of a joy that I find inspiring. And Jennifer Lowrence has all that in her, and I've watched her have to go through it even in the last few years.

You're not supposed to become something else so you can get more. You're supposed to stay you and get through as yourself, because at least then you can count on that, and you don't have to ask yourself who you are half the time.