If you ask me, the place that a story happens is as equal character. It's almost like an ecological viewpoint: These people are living in this piece of land, and in this piece of land in this time this is possible. For me, I almost think location first. It's time first - what year is it - then where are we, and then who is in it.

There is a drunkenness to grief, which is good.

Humans are vulnerable, messy little animals and that's normal. And all I want to do is make a space for that in my films.

L.A. is so isolated and unhip in a way; it gives you room to figure out who you are and explore more personal stuff.

My dad's gay experiences really had a very positive influence on me and my straight relationships - how to better accept all the weirdness and ambiguity and ups and downs and paradoxes. I knew from the beginning I was writing about love.

Being a good Hans Haacke student, part of his influence on me is that there's no difference between a gallery show and a film - or even an ad and a T-shirt-in terms of cultural legitimacy. They're just different contexts in which to have some sort of communication.

My experience, with both my parents, is that grief has a lot of down, sad things, but I was also really emotionally raw, in the first year after each of them passed. Flowers smelled more intensely, my relationships were hotter, and I was more willing to risk. I was going for it a lot more. I was 'unsober' and I wasn't playing by my rules.