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.

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.

There's something so glorious in giving control to the world. I think that's what I'm trying to do in my films-control the world but also let it be chaotic, let there be life.

A lawyer actually has to see all sides of a situation. Lawyers actually might be the most understanding human beings.

I'm so sick of seeing guns in movies, and all this violence; and if there was going to be violence in Pines, I wanted it to actually be narrative violence. I wasn't interested in fetishizing violence in any way of making it feel cool or slow-motion violence. I wanted it to be just violence that affected the story.

I want to get out of the way of the actors. I want to get out of their eye lines. I want to them to stop thinking they're making a movie. I want them to just go and live. It's like you take these great actors and put them in an aquarium of life, and just watch them swim. That's what makes editing tough because you get all these beautiful, unplanned moments.