The whole thing about making films in an organic film on location is that it's not all about characters, relationships and themes, it's also about place and the poetry of place. It's about the spirit of what you find, the accidents of what you stumble across.
But for me, it feels like a natural extension of what I've been doing: exploring relationships. Here you have two relationships and we can explore how difficult it is for people to be together.
I think that being a conscious parent opens your eyes to the fact that any adult relationships that you have, whenever children are present on a daily basis, that they're modeling how they get along with people by what they see how you get along.
One of the things we want to do is find ways, first, to impress these parents how important it is to have children in a situation where they can respond to them and, second, to bring intergenerational relationships into play.
We have relationships and know the exact outcome with that person because we don't deal with ourselves and don't deal with our issues and end up being attracted to the same person or the person is attracted to our energy.
Whereas European films have traditionally been able to go into adult relationships. I think there's a huge audience in America for those kinds of films.
So when I write characters and situations and relationships, I try to sort of utilize what I know about the world, limited as it is, and what I hear from my friends and see with my relatives.
I don't return anybody's calls unless it's going to mean extra money for me. And I've completely cut off all relationships with any friends that I had before the show. And I've copped an attitude.
