My older sister was at the cusp of new wave, and I had older brothers from my father's first marriage who were rock 'n' roll guys, so I was exposed to a lot of popular culture.

The films that I love are very straightforward stories, like really old-fashioned stuff.

I guess what I like in my movies is where you see a character change by maybe two degrees as opposed to the traditional movie change of ninety degrees. I guess that always feels false to me in movies because that doesn't truly happen. Around me, at least in the life I live, I guess I don't see people change ninety or a hundred degrees. I see them change in very small increments. I think it's just a monitor I might have on myself as a writer to not make any false scenes.

If you figure a way to live without serving a master, any master, then let the rest of us know, will you? For you'd be the first person in the history of the world.

My older sister was at the cusp of new wave, and I had older brothers from my father's first marriage who were rock 'n' roll guys, so I was exposed to a lot of popular culture.

I really subscribe to that old adage that you should never let the audience get ahead of you for a second. So if the film's abrasive and wrongfoots people then, y'know, that's great. But I hope it involves an audience.

My filmmaking education consisted of finding out what filmmakers I liked were watching, then seeing those films. I learned the technical stuff from books and magazines, and with the new technology you can watch entire movies accompanied by audio commentary from the director. You can learn more from John Sturges' audio track on the 'Bad Day at Black Rock' laserdisc than you can in 20 years of film school. Film school is a complete con, because the information is there if you want it.