I'm interested in the way major events don't necessarily announce themselves as major events. They're often little things - the drip, drip of life that changes people or affects people.
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I think sometimes bad behaviour can be liberating for certain people. They need to behave badly to find themselves - to go off path to find their path. You see it with kids all the time: They're testing boundaries, and I think that's healthy.
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'Frances Ha' is the closest final product to what I had in my head of any movie I've made. I'm not entirely even sure why that is.
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I think I was going through a lot of change at 27, but I didn't know it was happening until it was over.
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It's funny, I'm very analytical in my real life, but in terms of my films, I try to not analyze them at all and let things just go into them and let them be what they are. I mean, people ask me to this day what 'The Squid and the Whale' stood for, and I have no idea except that it's an exhibit in the Natural History Museum.
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Woody Allen's movies are so much a part of me. I grew up watching them over and over and would read all his comic pieces for the New Yorker. In some ways, his influence is so much there that I can't even locate it any more.
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I'm good with a grill. I like to make cheeseburgers - I once read in a David Goodis crime novel that you're only supposed to flip a burger once.
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I think all my movies are about transitions to some degree.
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We expect forty-year-olds to have grown up at some point, and to be engaged and adult and take responsibility, and doing nothing would seem to go against that.