The level of control, that's part of what's so appealing about filmmaking - you have so much control over what the reader, the viewer, is noticing from moment to moment. They can't do that boring boring boring thing as easily.

My job is to have new ideas and take risks every day, so I'm always looking forward to the next thing being done or making the next thing that I haven't yet gotten to. That's sort of the constant in my life.

I definitely wanted much more normalness than what was around me.

The job of the artist is to point at things.

Writing a novel was like I had some Play-Doh to work with and could just keep working with it - doing a million drafts and things changing radically and characters appearing and disappearing and solving mysteries: Why is this thing here? Should I just take that away? And then realizing, no, that is there, in fact, because that is the key to this. I love that sort of detective work, keeping the faith alive until all the questions have been sleuthed out.

And why had Deb's last boyfriend dumped her? I dumped him. Maybe you didn't French-kiss him enough. I promise you that wasn't it. Tell me how many times a day you kissed, and I'll say if it was enough. Four hundred. Not enough.

Since I started making art, I've always had some kind of project that was really about and for other people, because I think I just need that balance to feel sane myself — you know?