The test for me, when I read other people's scripts, is whether I feel like there's something about me that is the best person to tell this story. I have a pretty high bar for myself. There's a lot of scripts that I read and think, "Oh, this is great, but I think there are 50 other directors who could bring this to the cinema."

The test for me, when I read other people's scripts, is whether I feel like there's something about me that is the best person to tell this story. I have a pretty high bar for myself. There's a lot of scripts that I read and think, "Oh, this is great, but I think there are 50 other directors who could bring this to the cinema."

All the things that live within you find their place, in character and story, once you tap into that other space that is the creative writing space.

Ultimately, what audiences respond to is truth. Even as fantastical as the story can be, and out there, at its core, it's dealing with loss, madness and mortality.

I think we all have limitations, as directors. I don't care what the budget is, it's probably never enough money and never enough time. You figure it out. Sometimes the limitations bring more creativity.

I'm very jealous of actors that swoop in for 20 days, and then swoop back out. When you're a director, you're on that train for the next two years, so you best love it like you've never loved anything, ever.

Casting is very instinctual. I really like to meet people. To me, it's about their essence more than their audition.