I love films like Deliverance where you can watch it over and over again and decode all of its many different meanings.

When you sit and watch the film with an audience, the focus groups and the cards and all of that is the less what you're worrying about. When you watch a film with an audience you see what is working and what's not working.

While I was a voracious movie-goer as a boy, I never put writing and films together in my mind.

I've looked at all of Hitler's speeches thinking that there's gotta be one where he's 'I'm Hitler!', but there weren't any. His speeches were all about hope and prosperity - he ran on a platform of peace and prosperity. Hitler speeches that makes him sound like a villain are pretty hard to find, he was very detached from what he was doing, he kept himself compartmentalised from it.

Directing my own writing, I see that I talk way too much, and everything can happen much sooner, with much less said about it.

Normally, I tend to be a very binary filmmaker. You give me a problem and a destination and I say, "All right. If you want to get from here to here, there's a series of if/then's that will get you there. And if you have other stuff you want to do along the way, I'll give you all the if/then's that are caused by that."

The biggest challenge is not coming up with the stunt, the biggest challenge is designing a sequence around it that sort of justifies its existence.