I could never have imagined the films I've done and the people I've worked with when I was starting out; I certainly did not have a career path.

When I was in pre-production for Trees Lounge, I was hearing the cinematographer talking with the production designer about colours and this and that and feeling like I was losing control.

I talked with Quentin about where the character came from, and he told me Kansas City. I don't know how somebody talks from Kansas City, so I made him from New York.

I suppose things are better now, but ... I don't know. People still hate each other, they just know how to hide it better.

Really interesting things come because you don't know what the rules are, what you can and can't do.

I think distribution has become a lot harder. With the whole explosion of digital video, there's just a lot more people making films. Distributors have a lot more choice. I do think there's an audience out there for small films. It's obvious to me what the studios do: they've co-opted independent film. They all have their independent arm. They can afford to crush the competition.

I never want to feel like the way that I see it isthe only way. Sometimes mistakes happen and that's better than whatyou thought the scene could be. You allow room for the possibilities.