My writing voice is very much like 'Thank You for Smoking.' It's a guy's voice. It's very masculine.

Being pregnant changes you as a human being and it gives you a whole lot of mixed feelings.

And as a director, you make 1,000 decisions a day, mostly binary decisions: yes or no, this one or that one, the red one or the blue one, faster or slower. And it's the culmination of those decisions that define the tone of the film and whether or not it moves people.

I'm equally guilty of using technology - I Twitter, I text people, I chat. But I think there's something strangely insidious about it that it makes us think we're closer when in fact we're not seeing each other, we're not connecting.

I want my movies to be audience experiences. As much as I like Michael Haneke, I'm not going to make a Haneke film. That's just not in my DNA.

If someone else made 'Up in the Air' or 'Thank You For Smoking' or 'Juno,' I would have wanted to rip their head off. I need that same sort of passion for every project I take on.

I'd done table reads for my own screenplays, and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater, where you get to see plays produced by different directors and different casts, but there's really nothing like that for movie scripts.