In real life, Keaton believes in God. But she also believes that the radio works because there are tiny people inside it.

A general philosophy of the female characters in my films is they all want something to believe in, and not having anything.

I want to return to the womb, anyone's.

What if nothing exists and we're all in somebody's dream? Or what's worse, what if only that fat guy in the third row exists?

I've never been satisfied or even pleased with a film that I've done. I make them, I'm finished, I've never looked at one after. I don't like them because there's a big gap between what you conceive in your mind when you're writing and you don't have to meet the test of reality. You're home, you write and it's funny and beautiful and romantic and dramatic, and then you have to show up on a cold morning, and you don't have enough of this and this goes wrong and you make the wrong choice on something and you screwed up and you can't go back.

You know how you're always trying to get things to come out perfect in art because it's real difficult in life

You can learn technological things, you can learn about specific things, but the real problems that people deal with in any subject, existential subjects or romantic subjects, you never learn anything. So you make a fool of yourself when you're 20, you make a fool of yourself at 40, at 60 at 80. The ancient Greeks were dealing with these problems. They screwed up all the time. People do now.