I like [that] there's a certain inherent drama to those jobs that is exciting to tell stories about and it's still real life. I'm a little less interested in the current fad of being obsessed with superheroes and things that are so out of the box.

It's interesting to get older and realize that part of your job growing up in this profession is to help the next generation. More and more, with Boyhood and with Ellar Coltrane and with Emma [Watson], I start to see that role. There's no better way. Nobody wants advice, so you can't really give it. You just have to try to wish them well on their journey.

To get to be somebody who gets to love what they do for a living, that's so rare, and so there must be some kind of price you have to pay.

I love really exploring... you know, a cop drama for example is a great way to explore class in this country and explore, you know, really, identity in the country and who we are in a way that is extremely exciting, but it's also real, you know, it's also real people and real drama. The same with the military. I mean, a good science fiction story is also great.

I have totally hitched my wagon to the horse of storytelling, and the idea that none of us know why we're born, or why we're gonna die, or what we're planted here, or what's on the other side of the galaxy, or when time began, or when time end. The whole nature of reality is pretty up for grabs, really.

I've had a lot of experience in independent film, and about how to choose. You've got to be very discerning about where you put your five bucks, and where you cut and what you don't cut.

It's so hard for every young person, trying to figure out the adult you want to be.