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.

Filmmakers are going to make films, just like painters are going to paint.

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.

I've always liked the minds of criminals, they seem similar to artists.

As a teenager, I wanted to write novels. By college, it was theater, plays, and then, shortly, it was film.

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."

I always sensed instinctively from the earliest age that I was being lied to.