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

I made two movies very young, and then I had trouble getting a movie made, and so - which was both, I think, a plus and a minus. It was a minus because it made me unhappy.

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 get a lot of responses to my movies. Some people say, 'Oh, I thought it was really funny - I hope that's okay!' And my answer always is 'Yes. It's totally okay.'

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

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

I'm interested in the way major events don't necessarily announce themselves as major events. They're often little things - the drip, drip of life that changes people or affects people.