Charlie, on a screening of Synecdoche at the Austin Film Festival:

"Afterwards, people came up to me. And one guy said, 'I'm a big tough guy from Texas' – he was like a real jocky-looking guy, the guys that scare me 'cause of my history with guys like that, you know? – and he said: 'I'm a big tough guy from Texas, and this movie made me cry out of both of my eyes. So thank you.' And that was really sweet. And I was like, just because of my history in the world and my relationship to people like that and my background – and I say 'people like that' just because of what he said he was and what he looked like. I didn't know who he was at all. Clearly a very decent person. Just, it's a very generous thing to do, to come out and say that, and I really appreciated it." (Source)

He mentioned that anecdote in an earlier interview, too, but I had to use that headline. (Stolen from Tram.)

The first half of a new review is up at Film Brain. Excerpt:

Synecdoche, New York questions exactly what it means to be a person, and the far reaching effects of the choices we make. Like Adele's miniature paintings, which require magnifying glasses in order to see their rich detail, so too does Kaufman's film. On the surface it's a grand, complicated, sprawling affair (like Caden's art -- built to scale) but the essence and meaning of it all is buried in the details. Take of it what you will.

As the priest says towards the end of the film, "everybody has their misery, but fuck everybody." (Source)

And here's a 30-minute interview with Charlie on NPR, thanks to Jon. Touches on a couple of new things - including elevators in CK's work.