Even after I had just done Twilight, which made $400 million at the worldwide box office, I could not get financing for three or four projects that I really loved and I thought people would love because they didn't fit some studio or investor's model of thinking, "This will definitely make money." It's a business and a film does potentially cost millions of dollars, and they have to think that they're going to get their money back somehow.

I can go back to my very first movie, Thirteen, and think about that exact moment when I saw Nikki Reed and Evan Rachel Wood do their chemistry read audition together. It just came alive. I was filming it with a video camera and I was like, "I know I can make a good movie now."

You can't really just think, "Oh, I want to make something that is going to appeal to every single person in the world." You have to just try to make a movie that comes from your heart.

Sometimes, a scene goes on too long and, with this being a suspense story and murder mystery that you're trying to discover through her heightened paranoia, you don't want scenes that take you on a tangent. Sometimes, you love those scenes, but you know that it's better not to be in the overall film. So, I'm not sad that they're not in the main movie, but I do think it's fun for people to get to watch them, if they want to.

I just wrote a really cool script. It's called "One Track Mind." It's an origin story about the most successful and the most foul-mouthed, outrageous songwriter in history.

I like doing commentary. As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things. I often like the technical commentaries myself.

As a director, you've got to have quite a few projects going because you never know which one will actually come together with the financing and get the green light.