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.

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.

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

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

You only have so much time in life so everything you do needs to mean something to you.

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.