Sometimes when you make a film you can go away for three months and then come back and live your life. But this struck a much deeper chord. I don't have the ability yet to speak about it in an objective.

I had the classic 40 meltdown, I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.

The truth is often terrifying, which I think is one of the motifs of Larry and Andrew's cinema. The cost of knowledge is an important theme. In the second and third films, they explore the consequences of Neo's choice to know the truth. It's a beautiful, beautiful story.

You need to be happy to live, I don't.

Art is about trying to find the good in people, and making the world a more compassionate place.

I don't know if that's philosophy or if that's something else, but to me it [digital filming] has an emotional feeling , that this materiality, the loss of the materiality.

It's hard to act in the morning. The muse isn't even awake.