We all give ourselves a lot of leeway, but we want consistency from other people.

The worst thing is that you used to be able to show interesting films on campuses. Those places are all gone.

I didn't have any set idea of what kind of filmmaker I wanted to be. I knew I wanted to tell stories that meant something to me, but I never said I was going to be the weird, avant-garde guy.

I think maybe making films is something innate you can't really teach to begin with.

All the women are going around saying, "Oh, we're just friends, we're just friends," but the guy's going, "Yeah, we're friends, but as soon as she breaks up with her boyfriend, I'm hoping to move in."

Normally my process is to sit in a room and read a script and talk about it and ask questions and just create a dialogue. That goes all the way through shooting. All kinds of thoughts and ideas can find their way in there. As long as you're all on - We're just all trying to tell the story so my job as a director is just to find out what this film wants to be based on, it's just words on a page at some point but then it just needs to go to some level of believable storytelling. I'm discovering the film as I make it, to some degree.

You make a film and you can't really pick the way it's put to the public. You control the content, but the way it's marketed, or the poster, or what they're telling the public about the film, it's beyond you. Some people don't even see them, because they think they already know it. That can be frustrating, when something you've done is marketed in a way you think is antithetical to what it is.