When Cate Blanchett starts directing, it's over for all of us.

I always bring it up to my lawyer every now and then. And another reason we have to revisit it is because there is a restoration going on right now for the film through UCLA and Sundance.

Music and film are parallel experiences: they are linear, they are narrative.

In the end, whether I write the script or, in this case, somebody else did, there's a point where you let it go when you're making a movie. You just have to. The thing that you shoot is not what you imagined in your head - it never is exactly that. And it shouldn't be.

I hope it's water under the bridge, but Richard Carpenter is a complicated individual, and he's also entitled to his own opinion on how his sister is depicted. The film has lived on and survived, and to me is ultimately is an affectionate celebration of Karen Carpenter. I hope that wins out in the end.

I'm drawn to female characters, not all of them are strong characters. I think I'm drawn to female characters partly because they don't have as easy or as obvious a relationship to power in society, and so they suffer under social constraints or have to maneuver within them in ways men sometimes don't, or are unconscious about, or have certain liberties that are invisible to them.

The Johnny Depp generation has this kind of brooding, weighty, introspective quality, very James Deanish. Which is nice, great for a lot of characters.