Being an artist is in part an act of rupture.

You can be aware of the passing of time without being nostalgic.

I remember being a teenager and seeing Seymour Cassel across a crowded room and being incredibly star struck, and not having the courage to say, 'Hello.'

I always think of my films within the context of where aesthetics meet economics. That's the nature of making art - not being naive about what is possible and getting what you need to tell the story you want to tell.

If you listen to Sam Phillips and [Big Star producer] Jim Dickinson, their use of language is so beautiful,

I happened to be staying with my dad and his present 19-year-old girlfriend. So that was really fascinating ? it was a mirror-image kind of experience.