I'm really specific in the way that I shoot. I've always had a very good sense of what I need in the editing room. I used to shoot in a way that drew more attention to the camera and I've tried, in each film, to draw less and less attention to the camera. I think when you pay attention to the shots, you're aware of the fact that there's a director.

And over the course of the last six years, as I've directed more features and commercials, I've become better at articulating exactly how I want the audience to feel.

When it comes to casting, I've been so lucky. I've worked with unbelievable actors who make me look better than I am and take the written word and make it honest.

People want to know if I have a moral standpoint that they should be picking up on, and the truth is, I don't. I don't want people to think that I'm trying to tell them to feel a certain way. I think that's cheap filmmaking.

It's easy to get caught up in a moment and think, 'Oh, I've been offered some giant studio film or a superhero franchise or some actor wants to meet with me about a project they want to do.' And it's easy to get caught up in a moment because it's flattering. But you can't do a movie because it's flattering.

Humanizing good people is kind of boring and I don't really see the value in it... humanizing tricky characters is exhilarating, and making audience films out of indie subjects excites me.

Creating a wonderful drama is an art form, while comedy is just entertainment.