Wes Anderson grew up in Houston, and he and I talk about Manhattan in similar ways, as a kind of fantasy world.

I think I was going through a lot of change at 27, but I didn't know it was happening until it was over.

[Shwing] the really naked stuff I've dealt with in my own life, my own therapy and relationships - for me it just feels like a film I'm really proud of.

It's kind of a crazy art form, movies, in that you have to get it right the day you do it, generally.

I've always felt some kind of connection to people who are kind of over-smart. People who over-think things to the point of some sort of paralysis, and I think that certainly can be me on any given day.

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.

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