By 1988, I was living in New York myself.

I'm someone who can create critiques of individuals based on their economic history. That's one way I look at people in terms of one story that could be told purely in a Marxist construction.

I try to keep feeling what's going on and try to use the camera, the actors and the design to enhance those feelings. There's something really emotionally direct and honest about how I put the material with the images. You hope that the strength of mise-en-scene comes from an honesty towards the material. You also hire really well.

So there's a choice that I made to tell stories that are still psychological melodramas about domestic issues. The challenge is to figure out how to make 10 films a career as a filmmaker, and that's a really challenging thing.

I've worked with non-professional actors, I've worked with movie stars, I've worked with kids, I've worked with older people, and I've found my job as a director is to cast them well and to understand what they need on set to bring the material to life.

I'm a version of the same person.

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.