The thing that fascinates me is that the way I came to film and television is extinct. Then there were gatekeepers, it was prohibitively expensive to make a film, to be a director you had to be an entrepreneur to raise money.

The more uncompromisingly specific you are the more you end up touching the bigger universal truths.

I decided to be a filmmaker when I was 12. I had utter clarity that this would be my life.

American movies are often very good at mining those great underlying myths that make films robustly travel across class, age, gender, culture.

There's something about being cerebral, intellectual, and yet emotionally repressed [in being villain]. If you think someone's doing this [bad] stuff and they're in complete control, that's more scary than if they're out of control.

I don't even like football.

I mean, we've all had those dreams where, you know, we try to cry out and our voice won't come.