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There's a lot of technology out there to help people have children in different ways, and later in life, for better or worse.
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L.A. is conventional to a hyper-real degree. It's plastic.
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I think invariably when you are dealing with relationships, the films really center on that, and the plot is really born out of that. That's the most core part of a relationship: intimacy, I think, whether it's expressed or not.
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I had a nutty career. I was living in New York. Then I got to an age where my friends and sister were having children, and I started to think I needed to orient myself towards a world where it could happen.
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Along my path, I've realized that this comedy/drama balance is something that's really interesting to me, and I feel, like, authentic to my voice.
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Wendy and I both wanted kids, but since we were pushing 40, the clock was ticking.
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Boundaries get blurry and identities can get lost easily. It's easy to take your partner for granted.
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I have enjoyed writing my own stuff, and it's been a privilege to be able to scrap some money together to be able to make films from my own scripts.
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I think when you're writing films that just come fresh out of your own imagination - I think probably anyone who's done that, there are certain themes or styles.
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At the base of it, my gut instinct tells me that there's a kind of fundamental misogyny in the culture. There just is. You know, there's just a weird anxiety around women.
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I think I'm interested in these kinds of character dramas, psychological dramas, domestic dramas, whatever you want to call them - comedy dramas.
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I think for any artist, your voice is always evolving. For me, the constant is finding a tension or balance between drama and comedy.
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I got exposed to art-house cinema and foreign films. I was from L.A., so it was a film culture that I didn't know about.
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I don't know if my films are about women in a kind of frolicking - here's a grab bag of women's issues. They are about women of substance with very particular stories.