I do think there's a smaller audience that's looking for something that's a little more adult and a little more nuanced [than many Hollywood movies]. At the same time, I think everyone who's making movies hopes to appeal to the widest audience possible.

I've done a lot of movies that don't have any music in them, and I've always sort of had a kind of wary attitude about music because it can be so manipulative, and also because with pop music, I feel like everybody kind of has their own relationship to songs.

We're looking for a certain kind of realism or naturalism, and we go about it in different ways, but I think we're all striving for the same end result, which is to capture the patterns of conversations and how people interact in a very realistic way.

There's something really nice about missing the person you're with. To have someone be apart enough to force independence and to also look forward to seeing that person.

I guess I probably see myself as a director. If I had to choose, I think that that's the aspect of the process that I'm most excited by.

I've never been able to develop a movie over several years, and keep coming back to it and adding to it. I get excited by the spark of an idea, and if I can't go make that, there's another idea that comes along that I get excited about. It has to happen quickly, in order for it to happen, at all.

There's a lot of cultural pressure around specialness and seeing your family. I feel like everything gets jacked up a little bit because of all of these expectations of love and family bonding.