I think I'm really drawn to filmmakers and artists who are kind of pathologically incapable of thinking straightforward about film, and about life as well, who cannot help but think laterally, think sideways about an approach to anything cinematic.

All the filmmakers I've worked with have taken my desire to educate myself very seriously.

Every film, obviously, everyone starts out aiming at making it good, and in the end, filmmaking is really fragile. Making a film is like building a house of cards on the deck of a speeding boat, or playing chess on train tracks. Every opportunity feels like that; it's the one artistic field that's unlike most of the others.

Even the most humble role, I've always felt really wildly grateful to be getting anywhere in film business.

Most of all, I really wanted to become a filmmaker, and I've used every acting experience to just turn it into film school.

A misfit like me getting anywhere in Hollywood as I somehow have, seemed, certainly at the time of 'Spanking The Monkey,' kind of out of reach, or not a very realistic take.

I think I'm really drawn to filmmakers and artists who are kind of pathologically incapable of thinking straightforward about film, and about life as well, who cannot help but think laterally, think sideways about an approach to anything cinematic.