I met this woman who was a hundred, this housekeeper, a hundred years old. I interviewed her. She just told me about her whole life. She's like, 'I can't read, I can't write; I can tell you who I was working for, and I can tell you the year, but who was president?

As a writer, as much as I try, I can't stop writing female characters. They have so much more to offer; they have to wear so many different hats. There's so much wonderful gray matter in a female's life that it just makes for a stronger character.

To write, you have to know how to act and know about directing. To act, you also need to know how to write and direct.

I knew I had to write a good screenplay to be taken seriously, and I knew I needed to present Mississippi on visuals instead of just saying, 'Hey I wanted to film it in Mississippi.' It would seem like it was a hometown boy just wanting to be home.

I don't steer towards anything. I steer towards character and truth. If it's funny then so be it. If it's dramatic, so be it. I just steer towards characters.

People return my phone calls now, which is really interesting. I'll tell you what I've learned that's kind of bittersweet. So many doors have opened up. I've met everybody in the business. I'm fortunate people want to work with me.

Everybody in the South loves the one closeted homosexual who's married. It's just too funny to not have in a movie about the South. It's an epidemic. You gotta represent!