I feel like the job in editing is to let the movie tell you what it is. It's like sculpture. You just start taking away, you add a nose here, you cut off like the side of the cheek over here in the crease and you have a face. But it really reveals to you what it means to be over time, and if you have enough time.

Yeah as the director I consider myself to be the coach, and my actors are my players. So I have to show them how committed I am, but I also want to lead by example. I think whenever you make a film, you start out alone, and then slowly start - you have to be a magnet. You have to attract people to you, to the project.

I tell the actors that the biggest gift they can give me is to fail. And that the second gift they can give me is to surprise me.

From making documentaries all these years, it doesn't feel right to lead someone. In narratives, I'm always trying to shoot as though it's really happening, and I trust my actors are going to make decisions that I'm going to be following. I want to follow them. It feels dishonest to be pulling back in that opening shot and leading him to his destiny.

So I don't think being an artist you can ever satisfy - the moment you do get satisfied is the moment you're done, really. I'm actually starting to bug out now, because it's not enough. I get joy and pleasure in the movies out there in the world that people are seeing, but for me, it's about making it. That's why I do it, is to make it, to deal with my life.

I always say writing is like dreaming, shooting is like living, and editing is like murder, because you take all these gifts that actors give you, and you cut them.

It happens sometimes that when someone has a camera, they change; sometimes they change for the better.