By 1988, I was living in New York myself.

To be a creative person and be a professional, as an artist you have to be able to withstand pain, rejection, and for some, a lot of bad feelings, but you have to be able to look through those.

When working on and writing a film, I'm often more of a sponge than other times, aware of what's going on around me.

Utopia is something that I think about in connection to an experience I had when I was a kid.

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.

I actually feel that all drama has an element of comedy in it. A great deal of that I learned from writers like Chekhov who called his plays his comedy even when they touch on tragedy.

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