My problem with my parents growing up was not that I was afraid to cry in front of them - they always wanted me to cry because they wanted me to be okay, but it felt kind of icky and gross to cry in front of my parents. So my problem was the polar opposite - I didn't want to cry in front of them because I didn't want to give them the satisfaction.

It's nauseating for me when I feel like I'm not growing or challenging myself.

I believe that a great character can be made in one scene, or a few moments.

If I have a career in theater, and nobody knows who I am, I'm all right with that.

The silver lining of those years when I was trying to get 'Tinkers' published but couldn't were the years when I had to decide, Why do I want to be a writer? I realized that writing is the thing itself; writing is not a means to publication, writing is not a predicate of publication, so I spent years making art for art's sake.

The reality is that every movie is a new business. Nobody says, 'Hey, let's go down to the Pantages Theater, I hear a Warner Brothers picture is playing there.' Or, 'Let's go to this theater, I hear the film came in on budget.' It'd be ridiculous.

To say that such-and-such a circumstance is 'Kafkaesque' is to admit to the denigration of an imagination that has burned a hole in what we take to be modernism - even in what we take to be the ordinary fabric and intent of language. Nothing is like 'The Hunger Artist.' Nothing is like 'The Metamorphosis.'

There are many wonderful themes from 'Moana' that people discover, and I also hope they're inspired to go on their own journeys and to learn more about the Polynesian culture, because we're pretty great! I'm so proud of the people the filmmakers talked to - the Oceanic Trust.