My first job, honestly, was as a proofreader. I say that a little disparagingly, but it actually was this sort of incredible thing, where I got this job proofreading for a cable television magazine.

I came to New York, and it was a really cool time. People like Jim Jarmusch and Spike Lee were making their first movies, and they were making movies that were personal narratives.

There were Hollywood movies and then there were those aggressively anti-narrative films that they showed at the Collective for Living Cinema.

It's humiliating to have to explain your value.

Being on a set where the director has lost control is just sickening. No one goes the extra mile, theres a lot of eye-rolling... it just breeds inertia. If a director is in control, the crew follow their leader. But the second anyone senses the directors are not sure, people just swoop in.

I think that when you're doing an under-four-million-dollar movie, you just can't throw money at the problems.

When a crisis occurs, I feel that one of my greatest responsibilities is to set a tone of calm no matter what the problems. Sometimes I have to fake confidence a lot. I also have to fake calm.