I think a lot of ["Cosmopolitans"] is marked by [Jerome David] Salinger. Salinger wouldn't allow his works to be adapted for film after his experience with "Uncle Wiggly in Connecticut," and I think that's great for us because then we have to do our own Salinger stories.

I originally wanted to be F. Scott Fitzgerald, but failed.

I think crazy people are helpful, crazy people who are the catalysts who make other things happen for everyone else. It's almost as if they're not really making things happen in their own life, but their hyperactivity is triggered for everyone else.

I've had no money, absolutely, from my family. They paid for a good education - or schools that purported to be a good education - but, um, not a dime.

I would say on the other side of the equation that there were really some massive sales and massive enthusiasm for some films that were given big releases. And I'm not really sure that happens in quite the same way, small films getting big releases. Maybe it still does, I don't know.

One of the problems of a director on the set is that we become overwhelmed by all the factors and threads of production, that sometimes we can't focus on our main job, which is steering the performances to create the whole film.

I can talk about Jane Austen until the cows come home.