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.

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'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.

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 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.

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

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