My directing is really weird. Everything is based on whether it's working or not. I don't try to fix something if it's not working, I'll just change it.

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.

I don't have an agent. I don't take meetings or anything like that, so I don't really know what's out there. I'm not closed off to anything, but I'd just have to ask myself at every step if it's worth it.

I think there's been a gigantic shift in the way we talk to each other, and the way that we communicate with each other. So as a filmmaker, the stuff's always been really interesting to me, and I sort of considered a lot of my films horror films, the ones that were relationship dramas, because I feel like it was very easy to look at modern communication and the Internet and cell phones and all that stuff as horror movies, basically.

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.

It's really easy to finish a movie and sort of immediately dive into the next one, because I love working with actors so much and being on set, my inclination is to try to get back to that as soon as possible. There's just never much of a gap.

During improvisations, I'll hear people bringing back up details from something I heard about at breakfast or something somebody was saying that they were thinking about, and it informs a rewriting of a scene.