I get heartbroken flying into L.A. It's just this feeling of unspecific loss. Can you imagine what the San Fernando Valley was when it was all wheat fields? Can you imagine what John Steinbeck saw?

My greatest hope is that we transcend the most fearful thing, which is that we are rapidly degrading the ecological systems on this planet that support everything we are doing and all life on it.

When I look at the directors that I really love, who really develop their films over time, they're almost always the ones who go back again and again and again at the same investigations. I think that when somebody has a theme they go after, it's fun to service that. It's like, "I know you now. I know what you go at." It helps you locate yourself a little bit quicker in their world.

The more you do your homework, the more you're free to be intuitive. But you've got to put the work in.

Obviously plastics have served very important purposes and been incredibly convenient but as we begin to witness the long-term consequences of the chemical components leaching into our water and our bodies, we're going to be forced to look for alternatives to how we package goods and food.

I've always thought of acting as more of an exercise in empathy, which is not to be confused with sympathy. You're trying to get inside a certain emotional reality or motivational reality and try to figure out what that's about so you can represent it.

You know, independent films have been institutionalized, practically. Every studio has got a boutique arthouse label. There's like, 18 different independent film-financing funds. In fact, I think the children of those films are getting made. A more interesting question is whether those films are going to get seen and appreciated.