My biggest difference with our film and those kinds of science fiction films is that they are going from one special effect set piece to the next, what we were doing was more of a character study. And I think that is the freedom that you get by doing an Indie film. You can only really do that with a lower budget. So I understand where the conflict is between those two priorities.

I want to do my Blade Runner, which is like a future Berlin film, which is like a thriller, but it's much deeper characters, I think.

Every time you want to reset your set and pull walls out and reset the lighting, you're burning up half an hour to an hour, and when you're trying to keep to a schedule, you're constantly having to reassess what's worth it and what you're going to have to give up in order to keep on schedule.

Sometimes there's a disjoint between what works on the page and what works with visual story telling.

You have to be flexible enough to realize that, over the course of making a film for three and a half years, things are going to slightly change and drift, as you work out solutions to each problem as they come up.

As soon as I finished film school I was thinking about, how do I get to feature films? It took about eight years, and I'm still working. Feature films was not the end goal. Feature films was one of the stages. Getting to the point of the Coen brothers or Tarantino, where you're writing your own material and have the budget to do it properly, that's the end goal, and I'm close to that.

I want to have the illegitimate child of independent film making and the budget to make it. That's my aspiration.