I like to work with actors that have varied experiences. But I don't choose them because of their experience, I choose them because of qualities I think would make an interesting character and to me there is no one way to direct actors, there is only one way to collaborate with one person.

It meant a kind of real liberation of expression. It embraced amateurism in a way that I still am inspired by. It was not about trying to get, you know, stadium gigs or even commercial radio play or even record deals for that matter. It was about saying something 'cause you meant it, and expressing something that you felt. And that was primary for that - whatever the scene, whatever punk rock means, it was very, very important to me, very formative.

I'm completely intuitive and I don't like to analyze things.

I still consider myself to be an amateur filmmaker. And I say that because in the Latin origin of the word amateur is the word love, and it's love of a form, whereas professional implies something you do for money or for work.

I think you can only be nostalgic for something you've lost.

One of our favorite Joe Strummer quotes was, "No input, no output." Meaning, we're going to hear a band, we're going to go to a museum, or we're going to go hang out with some writer that we admire. We're going to get some input, because if we don't, then we have nothing. It's a circle. It's a respiratory thing.

I like marginal characters, I like real people. I learn more from talking to my plumber when he comes to fix my toilet than I do from meeting a movie star. I think my movies are in the same vein as that.