There's some movies I watch, they're kind of like my anti-anxiety pill, my anti-depressant pill. I watch them at least once or twice a month probably. And I never stop learning from them as a filmmaker.

I think that animals aren't less intelligent than humans, they're just of a different intelligence. We have five million smell-sensitive cells in our nose, they have two hundred and fifty million - they can smell emotion. They can smell different types of emotion, they just have another type of intelligence.

It's a very sweet and often problematic situation where people feel like they know me and they're concerned for me. It creates these strange little intimate moments.

There's some things that you learn as you're shooting, and as you're editing that are key, because when you start you don't have the brain that can finish it. You don't really know what it is, and that's the key job; figuring out what you actually have, not what you're dreaming of having.

Before I did any television or film, I did years and years of theater. Television and film stuff, even though it went on for a good, healthy number of years, almost felt like a diversion from theater.

I could, of course, have written about the film world and the jealousy there and the frequent belief that others don't have talent. But, for some reason, it just struck me to write about art.

Our experience of any painting is always the latest line in a long conversation we've been having with painting. There's no way of looking at art as though you hadn't seen art before.

The higher the artist, the fewer the gestures. The fewer the tools, the greater the imagination. The greater the will, the greater the secret failure.