Cars are good for entrances and exits. And there is something about driving that is quite cliched in a funny way. I like Roy Orbison's video for I Drove All Night because it's so literal. It is just a man driving throughout the night. I like that silliness. To be in a video is a ridiculous thing. It's almost impossible to do it without any humour.

I'm pretty bad at seeing new films.

When I do plays in New York and do eight shows a week, you have the same feeling. Three of them are terrible, four of them are okay and one is really good. It's hard to say what accounts for the really good one or for the terrible ones, but you end up trying to remanufacture whatever worked for the good one, like eating a tomato. I ate a tomato and the show was good, but that of course is not how it works.

I try to write every day. Sometimes the things come out well, and sometimes they don't. When they come out well you think, Wow, I must be really great; and when they come out poorly, you think you must be terrible, but the truth is that's how any process works.

I only ever privately tell people stuff for the scene. And I often ask what they feel is right. Normally, by the time that we're filming, if it doesn't work, it always the script.

The most interesting part of filming is what the actors do. That's the primary link between the story and the audience.

I'm not a terribly social person, and so I have to really like people to work with them.