I live in Manhattan now, because, in a way, it was my fantasy.

I grew up in the heat of '70s postmodern fiction and post-Godard films, and there was this idea that what mattered was the theory or meta in art.

I really like my first movie a lot, "Kicking and Screaming." I think it's a - I'm very pleased and proud of that movie, but it wasn't the - it wasn't "Citizen Kane" right out of the box, you know? It wasn't "Sex, Lies and Videotape."

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.

I like having associations with locations beyond their meaning for the specific movie.

If you don't feel good about something, you don't shake it off easily.

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