There are so many filmmakers who are so talented, and actors and writers who work so hard, and it's really hard to let your work enter the world.

When you're reading Chekov, you're in this world that he's created. I never would have created that world. I don't know anything about that time period or that setting or those groups of people or what those experiences were, but oh my gosh, it's amazing to daydream on it and put yourself there.

We put limitations on the way that we think about things, on ourselves, think about all the boxes we live in, male or female, you're this age, that age, this is your job, this is not your job, everything is about getting boxed in. I think we accept a lot of those boxes, that labeling, and the way that we perceive the world, but what even is perception? It all seems pretty flexible to me.

I feel like I'm a much better person when I'm developing my imagination and my innocence and my vulnerability. I like that version of me better than the version where I'm just working on my analytical mind.

I think one thing for sure that you learn the more films that you make is how important it is to choose your collaborators.

The more time you invest in something, potentially, the deeper the emotional impact of the climax. It's true of relationships, too.

If you came from the future and you arrived here, what would you be like? Would your immune system be depressed from that travel? Would you be well? Would you be ill? Would you be affected by micro-organisms of the time period and be hiding out in a basement? How would it all work, practically?