And this, incidentally, is my thumbnail sketch of American marriage: A woman sees a man; she likes him. Now she jumps on this thing and rides it to some kind of standstill. Then she changes it and trains it, and to the exact degree that she's able to do this, she disrespects him.

Comedy is much harder, it's a lot more exacting. You can't just be real and you can't just use the same kind of techniques you use to fill up a regular scene.

It's the post-literate generation that is most disturbing to a movie-maker. The explosions and the knifings. People like to go to what's hot and you can't get past a certain gross unless you involve children who go more than once.

Before I moved into the mainstream of American movies, I wrote a script as an experiment. I wanted to get very far away from the clichés about the three-act play - structure, development.

Staying together is a challenge. We all have to accept qualities in other people that aren't always exactly what we want or need.

I'd prefer if people had no impressions of me. As a kid, I had to tell my own family, "Please, just don't talk about me!" Because they always got it wrong. Always. I just didn't want them to tell anyone anything about me.

I don't want to direct a movie as good as Antonioni, or Kubrick, or Polanski, or whoever. I want it to be my own. I think I've got the seed of it and, what's more, that I can make movies that are different and informed by my taste.