As a father, I wanted to make a movie that my kids can love.

I'm a version of the same person.

I'm someone who can create critiques of individuals based on their economic history. That's one way I look at people in terms of one story that could be told purely in a Marxist construction.

I try to keep feeling what's going on and try to use the camera, the actors and the design to enhance those feelings. There's something really emotionally direct and honest about how I put the material with the images. You hope that the strength of mise-en-scene comes from an honesty towards the material. You also hire really well.

To be a creative person and be a professional, as an artist you have to be able to withstand pain, rejection, and for some, a lot of bad feelings, but you have to be able to look through those.

I think my movie addresses the struggles of communities facing class distinctions, which are timeless. The questions of how we live together and what we do for money are really the stuff of drama.

I think I tend to feel discomfort more when I anticipate or arrive upon moments in which I need to be careful. As a gay person, there's the fear of violence, and we're not making that up.