There's some people who are just very dynamic about social life, and it can be some pretty crazy stuff, but you end up meeting people you like.

The Cha-Cha is no more ridiculous than life itself.

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 think it's really good and helpful to have the people you most admire in some other discipline than what you work in. It's too intimidating and derivative to be just totally gobsmacked by someone doing exactly the same thing as you are.

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.

It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.

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