Most of my horror inspiration is really older stuff and really new stuff.

I don't want to force somebody to talk about sensitive subjects if they're not into it, but at the very least, even if that's happening off camera, it's allowing everybody to be on the same level, and creates an atmosphere on set that engenders trust.

I think I'll try to keep working in film for a little bit. There's something still kind of magical about it, that I don't want to let go of.

I don't have an agent. I don't take meetings or anything like that, so I don't really know what's out there. I'm not closed off to anything, but I'd just have to ask myself at every step if it's worth it.

During improvisations, I'll hear people bringing back up details from something I heard about at breakfast or something somebody was saying that they were thinking about, and it informs a rewriting of a scene.

In the 10 years that I've been a professional filmmaker, the film part of the film industry is really disappearing, right in front of our eyes.

We're looking for a certain kind of realism or naturalism, and we go about it in different ways, but I think we're all striving for the same end result, which is to capture the patterns of conversations and how people interact in a very realistic way.