American - Writer | September 3, 1969 -
Wes Anderson grew up in Houston, and he and I talk about Manhattan in similar ways, as a kind of fantasy world.
Noah Baumbach
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Peter Bogdanovich is a good friend.
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I watch movies all the time, so it's hard to pick certain specific directors that have inspired me in the aggregate.
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I didn't train in directing; I talk to actors the way I talk to anybody.
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I can feel pretty critical of people, and I understand that sort of feeling of when you're going through something that's painful, taking it out on the world and projecting onto other people, finding faults with other people because it's harder to find faults in yourself.
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It's funny, I'm very analytical in my real life, but in terms of my films, I try to not analyze them at all and let things just go into them and let them be what they are. I mean, people ask me to this day what 'The Squid and the Whale' stood for, and I have no idea except that it's an exhibit in the Natural History Museum.
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I'm a huge proponent of therapy and analysis, but it's something that, in a nonprofessional way, can be abused.
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Being funny, in some ways, is about being connected to psychology.
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I don't know any writer of fiction who enjoys trying to point out or dissect whatever they produced with strangers and let them go through it and pick apart what's real and what isn't.
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A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.
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I feel a real connection to Brooklyn, certainly, because I spent 20 years of my life there, but I don't think of myself as a Brooklyn artist any more than I think of myself as a male artist.
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I'm interested in the way major events don't necessarily announce themselves as major events. They're often little things - the drip, drip of life that changes people or affects people.
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