I like the platform to show your art and everything that goes along with that. To show your voice and hopefully find films that are more politically driven, films that maybe inspire.

I love movies; I grew up loving movies. I've always loved movies. I never thought about making movies until I took art classes and then I started studying different artists. As you study paintings, you see light and shadow, of course - Rembrandt, Eugène Delacroix. You start to understand the relationship between people and art, and images. For me, between movies that I watched and art, it was like, I'd love to make moving art. Moving pictures.

I like the opportunity to make films.

Some men don't gel when it comes to work - you have different work ethics, different opinions, different points of views, different methods of filmmaking - and we didn't gel.

How do you capture the drama of a Rembrandt painting in a movie? How do you feel that moment that they captured in two hours? I kind of fell into it and at one point, I decided I wanted to live an art life; I wanted to tell stories. I came to New York, and did what most people do - you become a PA and run and get coffee and pay your dues and learn until your opportunity comes.

In movies you get to do that. Sometimes with the vigilante justice movie he has to also tangle with police, which are traditional or security people. Is there going to be any of that in this?

You could call it that [urban Western], I guess, you could certainly call it that. A lot of these types of films are, really, if you get down to the core most suspense thrillers in this genre, the Western is sort of the birth of it all.