Friends of friends had bands in college or in their early 20s and had a moment where they had some kind of interest from a record label or manager. It's always interesting how people handle those decisions and those moments.

I try to write 'and it's all very funny' after each scene description so that the reader can imagine the movie in their head.

I do think it's a very good way to describe what a great actor does. You're both acknowledging the authority of the director and the necessity of the actor to push back and find their own voice.

I realize how much I rely on the actors to really know the lines because I tend to forget what they are exactly, even though I've written them. I don't have them memorized. But when it's going well, there is that point where the actor starts to know more about the character than I do.

I've always liked working with friends or, you know, people I have outside relationships with.

Manhattan is so tailored. It's driven by appealing to the very wealthy and tourists.

Anyone who's putting money into your movie would always rather you cast well-known people.