One of the things I wanted to do after three, prolonged movies is to do something that was really, kind-of knee-jerk decisions, and artistic instincts and strip down the process to more of a guttural level, and make something that wasn't so manicured and polished; wasn't quite so developed and supported, and just run wild with it and see what happens with it.

Fortunately, working with Universal was just a real opportunity of a supportive entity, who not only financially backed and distributed the movie, but creatively collaborated with us, and gave us ideas and creative ways to make a movie that was budgetarily responsible.

We were in production on a movie called All the Real Girls, which filmed in the Fall of 2001, and we really discovered who Danny McBride was, as an actor. When I say we, I mean me and a crew and a small audience that would hit the art house. He'd never acted before, and it was a really refreshing, eye-opening experience to watch him unleash, in front of the camera, all this comedic potential that we knew he had, as a human being and as the guy doing keg-stands at the party.

The people that I associate myself with are people that are looking to make a good product because it's going to benefit them and it's going to help launch their careers.

I'm not really worried about people's perception of what I do, or people's analysis of why I make the decisions I make. I wake up every day with a new interest and a desire for an education.

It's been an obsession of various genres, disciplines, and aspects and elements of movie-making. It's always been something that I've really aspired to, so doing something new and different, reinventing myself and working with new people is just the passport to the amazing world that is the movies.

I've never wanted to be a fireman, in my life. I've never really wanted to grow up and be anything other than a film director.