Big emotions that are unexplained are really scary. At least to me.

When I first moved up to San Francisco to write Where The Wild Things Are, I had a couple moments where I talked to somebody, and they're like, "Oh, I love that book. I love this part of it," or, "This is what it means to me." And it's like, "Well, I don't know. I guess that's not what I'm making the movie about." But very early on, I don't know, we sort of let go of that fear.

Music is thousands and thousands of years old and I don't think that basic, primitive connection to the language of music ever changes.

Doing a documentary is about discovering, being open, learning, and following curiosity.

I just want to make whatever is exciting.

I think the way kids create is so inspiring. They're drawing a picture? They love the picture they drew; they're not tortured about it.

Finding a kid that could be introspective and internal and thoughtful, and then also be wild and free and guileless and physical, it was hard. So at the end we started getting down to panic time, and we still hadn't found our Max. And we decided to go about it a different way. We said, "Let's just find friends of ours that live in interesting cities in the country that maybe aren't as big, and people that don't do casting." And thinking maybe you find a place that has an artistic community, maybe we'll find some interesting kids from there.