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.

The more that I work with people that I don't know, the more I invite somebody in who's potentially going to really hate being there.

I think there's been a gigantic shift in the way we talk to each other, and the way that we communicate with each other. So as a filmmaker, the stuff's always been really interesting to me, and I sort of considered a lot of my films horror films, the ones that were relationship dramas, because I feel like it was very easy to look at modern communication and the Internet and cell phones and all that stuff as horror movies, basically.

My directing is really weird. Everything is based on whether it's working or not. I don't try to fix something if it's not working, I'll just change it.

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

Am I doing the movie because I'm really excited about it and want to do it, or am I doing it because it seems like it's a big budget or something like that? It would still have to be the right thing, because my lifestyle's really cheap and I'm able to exist doing smaller movies, so if I'm able to do that, I'm happy to do that. But if something bigger came along that seems really cool, then that would be great.

I'm usually two projects ahead. It's hard for me because I don't have a really long attention span.