I just have a hard time displaying things.

When people start talking, things happen.

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.

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 theoretical casting part of movies is the funnest part. You really can imagine so many different versions of a story, based on who's embodying it.

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.

The authenticity aspect is pretty important to me. When we have to compromise and do something that's not authentic, it really rubs me, every time I have to see it in the edit, which is millions of times.