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.

Was she terrifyingly beautiful? Was she so ignorant she didn't deserve the truth? Was she also a liar and thus it was something they did together? I don't believe in psychology; which says everything you do is because of yourself. That is so untrue. We are social animals, and everything we do is because of other people, because we love them, or because we don't.

I made some shorts that I'm not in. I think because I write so many short stories, it's not that hard to come up with characters that are not me. But my way into making movies has been through performing. My very first short film, I played a child and her own mother. So in some ways, to me, my great achievement so far is just that I've gotten all these other people to play the other parts. That's what makes it a real movie.

You always feel like you are the only one in the world, like everyone else is crazy for each other, but it's not true. Generally, people don't like each other very much. And that goes for friends, too.

Did you ever really love her? Not really no. But me? Yes. Even though I have no pizzazz?

The idea that you might end up in a job that doesn't allow you to be who you are, over the course of a lifetime, is still one of the most chilling nightmares to me. It's a good metaphor for fears I have about losing my soul in some accidental, mundane way. So, to me, these jobs that my characters have are very loaded. They immediately suggest a complex character to me, a woman who is, say, a secretary, but also a vigilante on behalf of her own soul.

Don't wait to be sure. Move, move, move.