Music is like color or acting or whatever. It's really something I think about from the beginning. Not that I always know exactly what I'm going to use, but I don't see it as something like, "Let's find some songs now!" after we have a finished film.

We expect forty-year-olds to have grown up at some point, and to be engaged and adult and take responsibility, and doing nothing would seem to go against that.

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 guess I probably took New York for granted. Growing up, playing in the street, going down to the Avenue to the record store and to the grocery store and stuff like that.

A lot of black-and-white films generally have a color version that will be used for TV.

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

I was late to the Knicks. My dad was a big fan. But I first started watching baseball; I became a Red Sox fan. My dad was a Mets fan. I wanted to have my own team and league.