The economy is rough. I think that affects everyone from big filmmakers to tiny filmmakers.

I wanted to be a playwright in college. That's what I was interested in and that's what I was moving toward, and then I had the lucky accident of falling in love with film. I was 19 or 20 that I realized films are made by people. Shooting digitally became cheaper and better. You couldn't make something that looked like a Hollywood film, but you could make something through which you could work out ideas. I was acting, but I was also conceiving the plots and operating the camera when I wasn't onscreen. I got very unvain about film acting, and it became a sort of graduate school for me.

A lot of my friends are struggling. A lot of my friends didn't make movies, which was really hard and sad. I'm good friends with this film collective, Red Bucket, which made Daddy Longlegs and The Pleasure Of Being Robbed. They're climbing the walls. They're all making cartoon booklets now, because they can't raise the funds to make another movie. But I think that when it returns, which it hopefully will, there will be another surge of energy.

I like acting and things when I like the writing. If I don't like the writing, I don't like acting. I think in some ways everything starts for me from the place of writing.

In college, it's very easy to maintain your female friendships because you're in such close proximity all the time.

I was a ballet dancer. I did other kinds of dance but ballet was my great love. But then it became clear, when I was 12, that my body wasn't going to be right. That's always a heartbreaking moment because there's nothing you can do about that. Your body is just not right. You don't have enough turnout. You're not built properly.

I think in theater the playwright is king. Those words are unchangeable. They are the reason that everything else flows from.