Duality is not a story. Duality is just a complexity.

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.

There are things you do for the fun of doing them or to work or to hang with certain people. But the projects that I've invested myself in and cared about most deeply have absolutely been activated by a desire to chase something that I relate to, or that I see as having the potential to speak to someone else directly.

I started, with three friends, this website called Crowdrise that's sort of the Facebook for personal philanthropy, a place where anybody can have a permanent microsite of their own to stage creative fundraising projects for the charities and causes that they care about. And we did it with serious intent but without any ambition.

You're always choosing the start point and the end point. And almost by definition, the most interesting period is where something happens, as a result of which something is different at the end. And so to me, the idea that you know everything about a character at the beginning is sort of ridiculous. Something has to be revealed. I like it when the deeper you go with the character, the more you see the layers start to peel away. It's more challenging to me, but it's also just interesting. Those are the things I like to watch. I like to watch the evolutions of something.

Practiced poorly, tourism can be extremely negative.

I think it's a total fallacy for people to say, "You couldn't make those old movies today." I think there's more ways to get a movie made today than ever in the history of the entertainment industry. It's a very exciting time to work in movies, if you're a creative person looking to make a very personal, weird vision.