Even on my films, I always collaborate with the actors. That's a given. I think you need that. You need the actors to feel as much ownership of the performance and the direction of the story as you do, to get the most out of everyone's potential.

When you know you have a certain amount of work to finish, you just don't allow yourself to get sick again.

Your movie should lull people into a place of openness and vulnerability. If it is just a diatribe, it's never going to work.

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.

I try not to read too much because what ends up happening is that you ignore the nice reviews and you just focus on the bad reviews. A negative lesson is learned seven times deeper than a positive reinforcement.

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 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.