For me, certain shots or scenes are keys in the movie.

I deliberately, in a way, went for something that was a huge challenge and was a big period film. I was excited about the canvas on which I could tell the story as much as the story itself.

Politicizing of kids starts with pregnancy, of course. You shouldn't be drinking wine. You can't be smoking, either. The poor woman is poked and prodded and touched and obsessed over.

You've got to believe as a filmmaker that if a movie's good enough, it's going to survive; and if it's not, well, it won't.

Shooting action is very, very meticulous, it's increments, tiny little pieces.

Confidence is essential, but ego is not.

The joy of a road movie is its very simple narrative nature, which is that you know you're going to go through different places and you're going to meet new people. At the same time, you have to not make it feel too obvious and too crudely episodic.