All history is defined by shifting modes of reality and time and how things change. That’s what I love about cinema. It changes in the moment.

By 1988, I was living in New York myself.

I think my movie addresses the struggles of communities facing class distinctions, which are timeless. The questions of how we live together and what we do for money are really the stuff of drama.

I have a career now, and I have to say, five years ago I didn't. I'm 50, and you never know what works, but I think part of that is because - in this way that can't be defined but which can be examined - we cannot work alone.

You are always factoring in the economy within the process of creating something, and making decisions that seem both fearless and full of fear.

There was an age in which it was clear to me that my parents weren't perfect, but then there was an age at which I had empathy for that. And that was through therapy, probably. You have to rebuild and you also have to grow in your understanding of whatever it is your parents are facing, and that takes a major, profound shift of perspective from being a child.

The questions of economics, and how they infect, or rather how they affect intimacy. And that's probably the subject of all my films.