If anything, I learned most from being a huge fan of his and watching movies like Annie Hall and Manhattan over and over again - that influenced the kind of movies that I wanted to make more than anything else.

I do think things like old furniture and art are arbitrarily assigned. And I say that coming from an uneducated place in terms of, you know... art... curating. But who's to say what's valuable and what's not? I guess I feel like in the end it's all pretty meaningless 'cause we're all going to die.

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.

The stories that I want to tell are completely, well somewhat autobiographical. It's completely based on my own self-absorption issues and problems.

I don't know where my next movie is going to get financed or if it will. I think every filmmaker is probably worried about that, unless their movie made a fortune. My movies make a profit, but obviously not a fortune. So yeah, it's scary.

But then male directors also have a hard time getting their movies made... not as hard as women but it's a tough time for any movie this size. And that particular movie [The Hurt Locker] was so specific. It couldn't hurt, of course, and I'm really glad for her, but I don't know how much it will change things, if at all. The film industry is still so sexist.

I would still encourage somebody, if they wanted to make a movie, to just go take a movie camera. That's clearly been shown to work. It's just how do you get it seen?