I'm really interested in trying to tell stories about women that don't involve romantic components. That's so much a part of the way we feel about female characters and their needs that it feels like it's built in - but I'd like to find a way that it's not. There are so many more stories than that.
Courage doesn't grow overnight. It can be a long process.
I thought movies were handed down by God. I knew that theater was made by people because I saw the people in front of me, but movies seemed like they were delivered, wholly made, from Zeus's head or something.
There are a lot of love stories in 'Maggie's Plan,' but the deepest, truly romantic one is between Maggie and her daughter.
There's a grace period where being a mess is charming and interesting, and then I think when you hit around 27, it stops being charming and interesting, and it starts being kind of pathological, and you have to find a new way of life. Otherwise, you're going to be in a place where the rest of your peers have been moving on, and you're stuck.
I wrote the script to 'Lady Bird,' and it really came out of a desire to make a project about home - like, what the meaning of home is, and place. I knew Sacramento very well, obviously, growing up there, and I felt like the right way to tell a story of a place was through a person who's about to leave it.
I don't know any woman who has a simple relationship with their mother or with their daughter.
I wouldn't call myself 'into the DJ scene.' I have friends who are DJs, like James Murphy. I was really into the DJ scene at his wedding. But generally, I'm not at the clubs. I've never been to a rave.
I'm always interested in relationships between women. I'm always interested in how women relate to each other, whether it's a family relationship or it's a friend relationship. That's such uncharted territory in cinema.