I Graduated From College In 1980.

The Biggest Thing That I Came Across, Right Off The Bat, Was That You Can't Shoot This Like A Regular Movie With Multiple Takes. You Have To, Because It's Such A Protracted Process, Break It Down To The Frame And Pretty Much Get One Shot.

I Can Talk Endlessly About Characters, Or Why Someone Did This Or That, And What That Dynamic And Interaction Is. I Really Love It, And I Think That Actors Really Respond Positively To The Fact That I Like To Talk About That Stuff, Because I'm Not Sure That All Directors Do.

I Think That People Have Expectations Of Themselves And Other People That Are Based On These Fictions That Are Presented To Them As The Way Human Life And Relationships Could Be, In Some Sort Of Weird, Ideal World, But They Never Are. So You're Constantly Being Shown This Garbage And You Can't Get There.

If I Were Doing Somebody Else's Script Or I Adapted A Book By Philip Roth, On Set There Could Be A Million Different Interpretations Of The Material And People Could Argue With Me. Certainly On Synecdoche, New York We Had Discussions And Arguments, But I Felt Like I Had Authority Because I'm A Writer.

We Try To Organize The World, Which Isn't Organized The Way Our Brains Want To Organize It. We Tell Stories About The People In Our Lives, We Project Ideas Onto Them. We Project Relationships With People, We Make Our Lives Into Stories. I Don't Think We Can Avoid Doing That.