I wanted to do Buddy Faro as a small budget movie. They said no. So I wanted to do it as a series of recurring TV movies, and they said no. So I agreed to do it as a series.

Writer-directors are a little bit more liberal, rather than having just the writer on the set, because I think sometimes the writer becomes too precious with the words. If you're a writer-director, you can see what you're doing and see your work in action, so I think you can correct it right there and still not compromise yourself.

I wanted to do Buddy Faro as a small budget movie. They said no. So I wanted to do it as a series of recurring TV movies, and they said no. So I agreed to do it as a series.

I think first impressions are important when you pick up a script.

Do whatever you're directed to do, and leave the rest of that technical stuff up to the director.

This is my first experience working in a foreign movie, but the mechanics, I think, are pretty much the same all over; you still have to wait in the trailer.

I don't like to be talked into anything. I don't want to be cajoled.