I think all writers are armchair psychologists to some degree or another, and I think a character's sexuality is fascinating. It's a great way to really get at the root of their identity, because it's such a personal thing.
I guess in America we're so sold on this ideal of the perfect, well-adjusted family that is able to confront any conflict and, with true love and understanding, work things through. I'm sure they do exist, but I never knew any of them.
A lot of times, the choice of the right song will save a scene. Or there will be a scene that's a little flat and you put in the right song and somehow it just comes alive.
Most of us live in artificial environments and then we go to work in artificial environments and the world becomes something that you see through a window.
Life is suffering. We have desires and expectations and egos, and we compare the reality we have, which is miraculous and wondrous, with this reality we desire. That somehow distances us from actually taking part fully with the reality we do have, and that creates suffering. For me, the thing that I love is that it's all about the present moment.
There are times when I am directing, and there are a couple of moments I didn't get the way I wanted, but I know I still have other angles to shoot and I have to be done by noon; I move on.
I know a lot of shows are like, 'Here's the pages,' right before they start filming. I'd have a heart attack. The anxiety would be way too much for me. I don't have as strong a backbone as those other show writers.
I'm at the point in my life where I don't want to work as hard. Actually, I've had to take a good hard look at workaholism and it's effect on one's mental health.
I need to feel like the work I'm doing is not necessarily important, but meaningful, at least to me, because otherwise it just becomes a day job. It just becomes factory work and I get really frustrated.