A period romance film with elements of horror. That was successful, because I feel like Coppola's DRACULA was one or the other. You know? It was never scary it was never a film he got invested in the romance of the characters. He understood it, but he never got invested. So it as a challenge for me to see if I could do that, I still don't know how audiences will sort of react to that.

I have aspirations of making a big, historical epic. I don't know if I'll ever get the money to do it.

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

When people start talking, things happen.

I don't know what I am on set. I can be many different things on set depending on how stressful a situation is. But at the end of the day we're making movies, we're not saving the world... we're not an army, no one's lives are at risk and we're just trying to make art, so I think as long as you keep reminding yourself that's what it's about you can have fun.

It's an important part of being a member of society to know what's happening in the world and to know where you fall in it and what you can do about it.

When you think about being a director, you think about writing stories, putting the camera in interesting places and directing the actors to get your vision, but it's hard to imagine even this process... sitting here nine months later talking about the film and talking about it 20 times in one day. You don't even think about the part where you come to the set every morning and everyone's looking at you to see your mood in order to see what the day is going to be like, and the influence that you wield.