Something happened to me when I wrote female characters in my early plays; it was a real liberation.

Is my job as a child, even as an adult, is my job to heal the wounds of my parents' childhoods?

The job in every re-write is to make it harder for your characters to get the thing that they need.

Well, because my films are really about how people interact with each other, and the complexity, and the nuance, and the surprise of those moments I try to create a safe enough space that allows the actors to operate from their own instincts. My direction is more suggestions, prompts or questions.

One of the things that happens when people make the leap from a certain amount of money to tens of millions of dollars is that the people around you dramatically change.

Money takes wings. The only thing that endures is character.

If you keep a clean heart with your money, you will have a clean karmic cycle, but the day you do something negative to another person, that karmic circle will start to bring you down.

They give me the money, I give them the book. Having input into the adaptation would be kind of like selling a house and coming back three years later and saying, 'Paint it this color!'