In Full Frontal and K Street, I learned to take advantage of the mobility that digital provides.

There's nothing else exactly like it in any other art form, the orchestration of so many different elements. It's endlessly fascinating what can be done editorially. You can create meaning where there was none, you can create feeling where there was none, you can create narrative where there was none. Two frames can be the difference between something that works and something that doesn't. It's fascinating.

I want to form a political party that's based entirely on what music people listen to. To me, it's a much better barometer of what they think and feel than their political stance.

I always have a plan, but then I'm always ready to throw the plan out, and everyone's ready to make a radical left turn if necessary.

You got to deal with reviews the same way you deal with your views, which I a long time ago stopped reading because the point is if you believe the good ones you have to believe the bad ones. It's kind of all or nothing.

There's a big difference between a movie about relationships and a movie in which people talk about relationships. It seems like a lot of people have confused the two.

Everything had been done long before I started making movies. I mean, there's nothing that Godard hasn't already done. You can't do a single thing that Godard hasn't already thought of. And so you struggle to do something that is not predictable.