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.

On some kind of unspoken, deep, deep level, I think we [with Ryan Murphy] have an aesthetic that we both understand or connect to. It's not that we see the world in the same way because we have very different points of view, but we're both visual stylists.

As a fine artist I was drawn to composition and technique. I would count the cuts.

If someone already knows you from being in the trenches with you on this TV schedules, and then you have a little bit more time, it's a treat for them, as well, because they can give you more.

I started in the P.A. world and craft service and storyboard artist, with the eye on the prize of directing. When I was directing second unit on Babel, I ended up casting most of the unknown parts. In these weird circles, I was this guy who found these kids on the streets.

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

I just wanted to make movies, but I never though about, "How am I being perceived because of my culture or my skin?"