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.

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

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.

There's something in the Zeitgeist now. A lot of [film] scripts I get have these very dark themes, a cornucopia of dysfunction. You know, Jane is a 13-year-old anorexic who lives with her parents and has been raped by her father. And this is a comedy.

Ultimately when I throw myself behind a movie, I have to really believe in that directors vision.

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.

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.