Before Sunrise did very well internationally. It made as much in Italy and Korea as it did here.

I've always been most interested in the politics of everyday life: your relation to whatever you're doing, or what your ambitions are, where you live, where you find yourself in the social hierarchy.

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

Monogamy, monotony. There's only a couple of letters...

There are a million ideas in a world of stories. Humans are storytelling animals. Everything's a story, everyone's got stories, we're perceiving stories, we're interested in stories. So to me, the big nut to crack is to how to tell a story, what's the right way to tell a particular story.

When you're trying to get laid, everything's great, but once you've been with someone eight years and the future is not finite, you have time to sit and really examine every little thing that irritates you.

Everything that you could think about in life, or experience, or be interested in, theoretically should be expressed or dealt with in cinema. But the way typical narratives are set up, there's no room for philosophy, because it's just digressive material. It's not advancing the plot, so there's no place for it. It's the kind of stuff you would cut out, and that you shouldn't have put in there to begin with.