The idea is to remain in a state of constant departure, while always arriving.

I think casting is really important. Finding the right sensibility for the right part is an art in itself. If you're off there, you make it harder on yourself as a director. And it's fun to work that out with the actors. I don't think there's any magic to directing actors. It's very instinctual. Working with actors is really one of my favorite creative moments of the whole process, and the most fun, because it's collaborative. I spend a lot of time rehearsing. I'm very rehearsal-oriented, probably because I have some background in theater. I like knowing what will work beforehand.

Memory is a wonderful thing if you don't have to deal with the past.

Whatever story you want to tell, tell it at the right size.

I have a lot of films that I haven't gotten made, and that continues to trouble me. But someday, some way or another, I think I will. It's all about timing. There's a moment when you're hot and studios will make your next film, and then there's a moment when you're really cold, and they couldn't care less what you want to do next. That's when you have to recede and make lower-budgeted films.

That's the history of art - you have to consider yourself fortunate if you ever get acknowledged. If you have a critical success that's also a financial success and that you feel good about... If things line up, that's pretty rare.

I do find myself at the moment, due to the success of School of Rock, to be on people's radar a little.