When I'm editing, I tend to cut, go back over it, cut, go back over it, cut, so by the time I'm done, even with a cut, I don't have a rough cut and then work on it so much. I have a pretty rigorous cut of the movie that's usually in the range of what the final movie is going to be. It doesn't mean I don't work on it a lot after that, but I get it into a shape so I feel I can really tell what it needs, or at least it's ready to show people.

When I meet certain filmmakers, sometimes you sit down and you do have some kind of shorthand. It can be fun to see them as someone who has been through similar experiences, but also as someone who just loves film. You can talk with them about films in a way that feels really free.

I'm a huge proponent of therapy and analysis, but it's something that, in a nonprofessional way, can be abused.

There are days when you're in a good groove and the actor really understands the part and comes as prepared every day as you are and is so inside it. And then there's the day where, for whatever reason, it's just a harder slog. And I feel like those are the days where all the preparation and everything becomes more necessary because you have to find a third route there.

I don't like when you necessarily know that this is the end of the movie. I like when a movie ends abruptly. You go through this, and some of the scenes are uncomfortable, and some are funny - and then suddenly it's over.

The real achievement of Woody Allen was that he was making movies that felt very personal, and for a whole group of people, it spoke to them. Then he became an archetype, like Groucho Marx or Chaplin.

When I start a movie, there will be certain films that I watch again just because the vibe seems right.