Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.

But steady-cams are very different than hand-helds, because hand-held gives you that verite feel.

I think that there's an infinite amount of places where you can stick a camera. There's an infinite amount of choices of what could be going on. There's an infinite amount of places for so many things, so you have to figure out how to do your job.

I think people are people and if their feelings are real and truthful, they can connect.

These wrestlers aren't organized. They have no union, no pension and no insurance. You meet wrestler after wrestler who sold out Madison Square Garden ten years ago, basically running on fumes today. There's a lot of drama there.

I had some big ups and downs when I was in my 20s and the one thing I learned was, no matter how low it gets, something good will come along - something always comes out of that dark period.

Every film had its own grammar. And it's your job as a director to basically figure out a language to tell a story.