I think that film festivals, we're very often given to understand, are about filmmakers and about films and about the industry of filmmaking. I don't believe that they are, I believe that film festivals are about film audiences, and about giving an audience the encouragement to feel really empowered and to stretch the elastic of their taste.

I'm really interested in the idea of long, long life and transformation and immortality.

I have this very strange relationship with my work, which is that it's like a conversation between me and it.

In The Deep End, you have a woman who looks like a J. Crew mother who can manage it all. Then we begin to realize what's going on inside. Every time I see one of those women stuck at a stoplight with the children in the back of her car, I sort of think, "What have you just done? What's going on in your life?".

In my house, a hot dog is a dog that's really hot.

I've been on the other side of the table many times, trying to get people to be sympathetic to projects, and I've been the victim of that kind of intense kindness masking extreme stupidity.

I've only ever gone into studio films with people I really like.