Between men and women, all the time there is tension. I feel it. A woman walks down the street, and I'm going back, and suddenly there is this tension. I just walk down the street, we were just on the way. And she thinks I'm a rapist. And now I feel guilty, even though I'm a damn poor did not.

One of the things about writing a novel is you can do it any way you want. It's your voice that's important and I see absolutely no reason why a screenplay can't be the same. It makes it a hell of a lot easier when you're the writer and the director.

I don’t want to be an old-man filmmaker, making old-man movies, and I don’t want to be the one not to know when to leave the party.

I've always equated the writing process with editing, sort of like when I get through editing the movie, that's like my last draft of the screenplay.

I liked the Hollywood stuff. But I also liked the fact that in both, you know, I guess in the, like, the auteur, the art film auteur at that time was Lina Wertmuller. So, you go see "Swept Away" or you go see a movie she did "Blood Feud" with Sophia Loren and Giancarlo Giannini. And I remember "Wifemistress" was a big movie at that time, really liked it, Laura Antonelli.

I've always thought my soundtracks do pretty good, because they're basically professional equivalents of a mix tape I'd make for you at home.

The children despise their parents until the age of when they suddenly become just like them - thus preserving the system.