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.

I have never wanted to check out the family folklore that we could be traced back to a dominie at the hamlet of Balquhidder in the Scottish highlands.

I'm not necessarily in a vocation where I'm at risk; it's not like I'm a police officer. I'm a musician, so when I leave home, my family expects me to come back.

I find the idea that some kids go into acting because of their parents butt-clenchingly embarrassing. I've gone out of my way to prove myself as a separate being. I don't want to be seen as a subset of someone else.

My father was a mean, controlling and manipulative person for most of his life. He was unpredictable and unstable. As a result, the atmosphere of our home was super-charged with fear because you never knew if what you did would make him mad or not.