What I would do is when I was younger I would draw in a sketch book something that happened in my life and then write a little something on the side about what happened or what the story.

Sometimes the failures can be exciting and fun. It's just a step on the road, it's not the end of something.

Journalism has changed tremendously because of the democratization of information. Anybody can put something up on the Internet. It's harder and harder to find what the truth is.

I'm interested in that thing that happens where there's a breaking point for some people and not for others. You go through such hardship, things that are almost impossibly difficult, and there's no sign that it's going to get any better, and that's the point when people quit. But some don't.

The technology available for film-making now is incredible, but I am a big believer that it's all in the story.

I'd been influenced by reading books on art and colonies that existed in Paris and places like that and so when I came to Europe I came to France and I had very little money, and I had to live low and stayed in a bohemian section of Paris with a lot of other students, who were from medical school, science school and art school. We all lived in a kind of communal way and I was challenged politically, because I didn't have a clue and they would ask me questions about the Algerian War, which was very big in France in the late '50s.

In fact, I think more broadly about what an audience requires, but I want an audience to be fascinated by the process of finding an answer, or finding out there isn't one.