I don't set out to do something weird, but if you see something a certain way and it's a little left of center, and you can realize it, that's a real thrill.

I love visual stylists like Bob Fosse and Vincente Minnelli and Michael Powell & Emeric Pressburger with The Red Shoes and The Tales of Hoffman.

It's a great asset to you, on your first film, to bring some people with you from the television world because they understand the speed that you have to work with to get your grand ideas down.

I was only driven to be the best and it was very disheartening sometimes that it took me so long to start getting my voice heard. That certainly started with television, but it was never because of where I came from, it was because people saw something in me.

Musicals and horror films can be very non-verbal and very pure cinema with movement. The camera is justified in being a character. It can really move and tell a story, and literally direct you to look here or there.

Being exposed to the Ryan Murphy machine, it is very much a personal extension of him. So, if I can learn from that and tell longer stories that are quite personal, and balance that out with features, then that would be the ultimate dream.

I've been clawing my way to directing since I was a kid.