You're always against the clock. But really just fighting for quality.

I don't really put trophies out. I don't keep trophies around my apartment.

One of the great things about working with Focus is that you're never forced, especially with a film with low budget. The pressure is sort of off. It's like it's so under the radar in a sense that you can cast whoever you want.

I think it's a fascinating thing to see how lonely people are in this world and what they're looking for. It's a universal concept. So, it's something that interests me and I'll probably revisit it if I get the chance to do the child soldier film because I think it's one of the most important scripts I've written. It's just too dark to do as a film right now. I need to do something a bit different.

All I kept thinking about was, "Man, he's so relaxed onstage! I'm never going to be that relaxed! I'm clearly not meant to be in front of the camera. I'm really not meant for anything but behind the camera."

Living in New York, I get excited by the idea of working in a different medium. And it's pretty frightening because whatever skills it takes to make a good piece of theater seem mysterious to me right now.

The apartments are made for eels.