You see the assets of your actors and you see their strengths and you try to play into them. It's like I feel part of my job is as a coach. I'm putting a team on the field and you want to formulate how to make the best game out of these players.

If you respect the events and respect the real life tragedy, you can drive your film to address it in some mature way.

The one aspect I do love about digital is I love to push performance and I love to roll and roll and keep doing takes in a single performance.

Just because your leg might heal doesn't mean it doesn't feel broken. It doesn't mean that a car hitting your body doesn't hurt like the same it would hurt if a car hit your body.

The boundary between real life and acting is hard to find.

The funny thing about me is I move from genre to genre, but I essentially shoot all the movies the same way.

There's a level of immersion that is perfect and there's a level that, for my taste, starts to actually exceed what the screen can provide. At that point, you're kind of overexceeding yourself.