In terms of my peer group, nobody's parents were dying of old age. There was no dialogue to have among friends. I had that experience, and then 10 years later, I started thinking about writing about it. It's obviously an indelible thing when that happens, and I wasn't looking for material at the time or anything; it just started becoming relevant to me.

Writing is so... I don't know, it's such a practice, and I feel very unpracticed in it, because I'm not doing it every day. And I really need to do it every day. In other words, you spend all this time writing a movie, and then you stop, and then you're shooting the movie, and then you're cutting, and a year and a half goes by, because in the editing room, you're not writing.

Producer Ed Pressman had a book about Diane Arbus - it's the only biography that exists - and there had been many Diane Arbus scripts. Many. I don't even know how many over the years. And it's sort of a cursed project, for lots of reasons. There's probably some pile somewhere of all these weird attempts, all these portraitures that can't get made.

After the editing room, I go and take a nap. I'm not in the practice of writing, and I feel like I'm flabby, and I have to start arriving at the desk every day, and take off one hat and put on another one. So I'm starting, but it's very sloooow.

Little projects - not feature - film projects - you know, theater things, writing things, and jobs like doing rewriting for money, stuff like that. I don't recommend it. It's not a schedule that I'd want, although it was really good for me in a lot of ways. I became a better writer.

I remember in film school, when we made shorts, you'd sit there and screen them with your peers, which has its own flavor, because everybody's so competitive and evil, and it's a really nasty environment.

Ideally, I'd prefer never having to be in a test-screening environment. Some famous director said "The group is smart, the individuals are stupid," about the experience of a test screening.