Well, I tried being in front of the camera as a student and that was terrifying. But the press stuff about me growing up on his [film] sets has been exaggerated. I was an extra as a kid and I was also a PA [production assistant] on one of his movies, so I was lucky to get production experience. But I was nowhere near him.

Catherine Keener really gets me. She and I have such a shorthand together.

I guess I always knew going into the movie that casting that part would be difficult. Oliver just felt likeable. I felt it would be hard to dislike this man. I don't know why, but I'm sure other directors have felt the same when casting him. Oliver is goofy yet formidable, smart but likeable... I didn't want the character of Alex to be nasty or demonised. I wanted him to be struggling with his actions.

The movie is in my head and that's the movie. But I'd be crazy to not be flexible. I think because I have the movie in my head, I can be flexible. I know what's going to work and not work and I know, generally, what I can change and bend and have the movie still work.

It's a struggle. It's really, really hard. I'm already nervous for my next one. You have to put more and more movie stars in movies these days. And of course, I would like to have more than $3million to make it. But, again, if that's what I was offered I wouldn't turn it down. I guess studios know that. But I'm one of the lucky ones, I guess.

It seemed like there were so many options in filmmaking before. If they don't want to make it, well okay, there's a hundred other places we can try. I'm not a producer and I don't even know the places my producer goes to, thankfully. But I think there are far fewer options now to releasing a movie theatrically or to getting the financing.

I think that sometimes, romantic comedies have to be really broad, and that the plot of people falling in and out of love or whatever is not enough. Enough Said had that stuff, but I wanted it to be fun and funny while also grounded in reality.