When you say "Holy Man", I immediately think of Eddie Murphy's finest hour. If it's anything comparable, I'm excited.

Sometimes you'll have great actors who aren't comfortable with improvising. Which can get pretty frustrating. But every actor's coming from a different place and they have their own strengths and weaknesses and your job is to sell them as two people in the same world. Some of them have to have their hands held and some I just let loose entirely.

It is better to develop ideas with friends rather than the usual route of having a great idea and throwing it out into a production, and being surrounded by professionals who've been doing their jobs for years.

Sometimes an actor doesn't sell an idea 100 percent. It just sounds like something that's coming out of their head. You can hear the gears whirring and they're trying to think of what the smart approach is to getting a line across.

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.

When you see somebody actually be able to channel that into an accessible, beautiful tool, you start to see the craftsman behind it.

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.