People who are kind of at the cutting edge of life and survival, and being near the nitty-gritty, like my films, and I like that.

I think that there has been a slow recognition that there's a mind at work here, and there's a skill and some bit of artistry, and that I could probably do other things. Otherwise, I don't know that I would've been given the opportunity to do Paris, Je T'Aime.

If you're in a theater, people are texting, all around you. You have the little glowing screens everywhere. Think of how annoying that can be.

I'm having a reputation of being somebody who will not be crazy. Not descend to doing drugs and spending an enormous amount of money, and instead delivering a product to people. Something they can sell and recoup their money and make a profit.

I have felt over the years a definite progression or arc from feeling guilty about what I had done with the first one [film], because certainly there was all that fundamentalist guilt that came pouring back in.

I learned to take the first job that you have in the business that you want to get into. It doesn't matter what that job is, you get your foot in the door.

I wrote, I think, half a dozen films that were completely out of genre. Comedies, love stories, even one serious film about Vietnam, and we couldn't get backing for any of it. And we both sort of drifted from making, at that time, serious money on Last House to going through it all in the course of almost three years and only getting offers to do something scary again.