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.

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'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.

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.

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.

As a father, I wanted to make a movie that my kids can love.

My early films were about self discovery, and films of internal conflict. At that level, they were very personal.