There is a danger, if you cast someone who is 18, 19 or 20 to play 14 or 15, that very subtly, almost unconsciously, the audience is, "Oh, this isn't so bad."

There are certain pressures and things that change your life to a degree that, in the cost benefit analysis that constantly goes on, sometimes makes you think, 'Maybe I should just leave.

I never say never, but I'm really enjoying the freedom I'm having right now.

I didn't want to be a victim of my own message [in Trust film]. I didn't want to take advantage of a 14-year-old actor. I didn't want there to be any nudity, or any real overt violence. I think it's more terrifying that there is no violence, in that moment. There's control and there's power, but there's no violence.

It was really interesting to be editing the film [Trust] in New York and directing the play in Chicago, and one definitely informed the other. The play probably benefitted more because I realized what scenes could be cut, and I cut those scenes from the play.

I think it was really crucial that the actress was age appropriate. There are films, such as An Education, where that wasn't the case, and I think that really affects how you receive what you're watching.

I try to educate myself as much as possible, as I do with the director and the designers and everyone I used to work with. It just helps, I think, with the frame of reference for who you're working with.