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As a writer, or as a filmmaker, you have to present yourself, and part of what yourself is is what you're interested in, or what you think is funny, or what you think is sad, or what you think is horrible.
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My time on the set is the least of my involvement. Most of my time is in pre-production and post-production.
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I'm trying to tell a story and do it truthfully.
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I do have some theatrical background. I've written plays and seen plays and read plays. But I also read novels. One thing I don't read is screenplays.
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In a lot of movies, especially big studio ones, they're not constructed in any other way than to get people to like them and then tell their friends. It's a product.
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I think of myself as a guy who tries to write screenplays and now has tried to direct one. Anything more than that is meaningless and it gets in the way of being a real human being.
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I studied acting at Boston University. I was in the theater department there. Somewhere in there I decided that wasn't what I was going to do and I went to the B.F.A. film program at N.Y.U.
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I don't subscribe to anything. I sit there and I try to think about what seems honest to me.
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I have a tendency to hire people who tend to be unattractive to the studios. Maybe this is a bad idea.
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I graduated from college in 1980.
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I want to try it to see what it's like and see what my stuff looks like when I take it from inception to completion.
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I do have, at different times, a certain kind of self-consciousness in the world, an insecurity.
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There's theater in life, obviously, and there's life in theater.
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I can talk endlessly about characters, or why someone did this or that, and what that dynamic and interaction is. I really love it, and I think that actors really respond positively to the fact that I like to talk about that stuff, because I'm not sure that all directors do.