The whole trick is to make it feel like you're spying on real people's lives as they get through the day. When I'm writing, I have to trick myself as a writer. If I consciously say, 'I'm writing,' I feel all this pressure and somehow it doesn't feel as real as when it doesn't seem to count as much.

I got a nomination for director, which means the world to me; it's just the most exciting thing for me and my family. You do the good hard work, and the rest of it is something you shouldn't get too caught up in, but when it happens - boy! I respect it.

David O. Russell's best films are thrilling high wire acts that run the moment to moment risk of tumbling to the ground. In his latest, "Joy," Russell has more trouble than usual keeping his balance on the wire.

I think audiences deserve the benefit of the doubt. I prefer to be surprised by them rather then just assume they'll react negatively to any new idea.

I hadn't made that movie before and when I ever met the real Joy Mangano, which happened because De Niro insisted we meet her and her father, that's what she felt like to us. She impressed us with her quiet, serene authority with herself.

I just love real characters; they're not pretentious, and every emotion is on the surface, they're regular working people. Their likes, their dislikes, their loves, their hates, their passions; they're all right there on the surface.

Sadly, this picture [ Joy] does not go from strength to strength. It sinks into a morass of tedious obstacles to this woman's success. Joy the person may be able to surmount all barriers, but the film with her name on it is not so fortunate.