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"Some people come out going, I don't get it. And I don't quite know what they're trying to get, what they're struggling for. We have had the reaction where people leave the movie sort of uncomfortable and befuddled. Although that wasn't our intention."
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"You're doing it to make the character as specific as possible, so that it's a specific individual that you're talking about, not that whole class of people."
"The question is: Where would it get you if something that's a little bit ambiguous in the movie is made clear? It doesn't get you anywhere."
"The characters are the result of two things-first, we elaborate them into fairly well-defined people through their dialogue, then they happen all over again, when the actor interprets them."
"And when you see it the first time you put the film together, the roughest cut, is when you want to go home and open up your veins and get in a warm tub and just go away. And then it gradually, maybe, works its way back, somewhere toward that spot you were at before."
"When you do a writing job for a studio, one of the things you want to do is satisfy the expectations of your employer. That's a little bit different than when you sit down and write something to satisfy yourself, because then you're the employer."
"Usually, I don't want to sit down and listen to the director gas on about his movie. I just can't actually imagine myself sitting down and having that much to say."
"When we do a movie with the studios, they wouldn't be asking us to do it, I don't think, if it was a movie they wanted to get into themselves. What you see is what you get with us, so they let us do what we want to do."
"You love all your characters, even the ridiculous ones. You have to on some level; they're your weird creations in some kind of way. I don't even know how you approach the process of conceiving the characters if in a sense you hated them. It's just absurd."
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