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Whether it's a movie I'm in or not, if there's a good movie, and it's low budget, and you know everyone's done it just because they were passionate about it and they cared for it, if it has any kind of audience, it's just a wonderful outcome.

It's really wonderful that it's the whole franchise being recognized and it's a collective award. Each film has anywhere between 2,000 and 6,000 people working on it and so really the award is for each and every one of us. We are like a family.

I think it's dynamite, the way my career has just kept moving, even when people didn't know it did. I made such interesting films, but, yeah, they're not necessarily the big movies that go to the supermarket. I don't need those movies, because I don't wanna do them.

I had very strong feelings, so the chance to make a film that deals in an imaginative way with stuff you care tremendously about is a real high. It's a really amazing thing to be able to do.

The movie feels to me like a real work of lovely art.

And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.

You have to have a strong idea for a hit movie, a strong core idea that resonates emotionally. It also has to technically achieve its goal - it's got to be well-written, well-paced, and interestingly told.

It's drama, it's a lot of things, but you know it's always about every movie or every TV project ever made is meant to be watched. If people like it and support it, that's what it is all about, really it's sort of the important part about it.

I'd like to think that the notion of inspiration will transcend cultural things that are going on. There's something classic about this movie that I'm hoping reaches kids.