In the U.S., coaches could be the father next door. They had no formal training. They're like old hockey players. They don't go to school and study.

I'm very excited about some of the novels that I have adapted. I think they're equally as powerful, if not more. Going After Cacciato (by Tim O'Brien) is something I'm very passionate about.

A lot of what I know as a filmmaker is because of hockey. That's teamwork, and being able to collaborate with people, and be creative with them, and get the most out of everybody. Everyone's got different talents, and you've got to bring out the best of everybody, and use your strengths and work together, and try and evolve it rather than do what was done before you, and to push into new areas.

In the U.S., coaches could be the father next door. They had no formal training. They're like old hockey players. They don't go to school and study.

I don't want to get into being too hockey centered, but I just felt like the late 70's and 80's into the 90's was the right time period to tell the story.

I found a lot of stuff that's never been seen before. That was the goal: to not use cliché Cold War footage but give people a sense of the place and setting. It's a field you still need. At first it was a lot of fun, and then later it became a little bit intimidating. "Oh my God, I've got so much footage. Where am I going to put it? What am I going to do?" I ended up really only reviewing about 20 to 30 percent of what I had. So it was a task.

I speak a little bit of Russian.