In snowboarding, you're constantly aware that people are so technically brilliant at what they do, and you feel like, "Ugh, I'll never be able to do that."

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.

I started writing stories when I was 9 or 10. I wrote my first screenplay-type document when I was 14.

It's just nice to be able to communicate and be able to identify with a lot of different cultures. I have no idea what it would be like to be just one thing and speak one language. I feel enormously privileged to travel and be able to mingle and speak to people that, had I only known English, I wouldn't have been able to meet.

Getting back in the directors chair - there's a sense of like doing something every year. It's not like riding a bike, you're always learning new things, you're gonna face new challenges and when you face new challenges you'll have an answer for them.

Sometimes the best set experiences make for the worst films. So, you don't want it to be too good an experience! But the bulk of your life is working with people and collaborating so you don't want anyone to be miserable on your film either. You want it to be something that people walk away from saying that it was a good experience for them and hopefully a good film. As a director, you are sort of leader of that troupe for that period of time, so you're aware of morale and your effect - how you are as a person and how that sort of trickles down to everyone else.

If you really want to tell someone you love them, you don't just go and blurt it out. There's a dance. And your movie does that.