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.

There's something that happens around 27 and 28, when people start coupling off more aggressively or changing their lives according to what their economic prospects are, and not keeping themselves on par with the group - you realise suddenly that they're not your family. And I think that's very painful.

I want to have a catalogue or a share in a company. I’m trying to take my family’s name from lower-middle class to aristocracy. I have my sights set high.

I have two cats at home in Minnesota with my family. Beau and Skippy.

We should make it so that young people pay their fair share for health care, and nothing more. And instead of Washington telling us what to buy, let's get back to letting every American choose the plan that's best for them and their family.