That's very important to me as well: presentation and how people perceive you, the visual of how things look, your posture. I learned that from [Bob] Fosse and Jerome Robbins, from all the great theater directors and the Busby Berkeleys. You overdeliver: visually, emotionally.

All my cuts are always about three hours, at the start, mainly because any scene in the movie that's 90 seconds, I probably shot a five-minute version of. If you just extrapolate that through the whole movie, I have a very long version of every scene, usually because, if there's one funny joke, I'll shoot five because I don't know if the one I like is going to work. I'll get back-ups because my biggest fear is to be in previews, testing the movie, and a joke doesn't work, but I have no way to fix it because I have no other line.

It would be so irresponsible not to speak up. I don't know what I would do in my home and in my life if I didn't rant a little bit and as thoughtfully as I can with some humor.

I think that everything I do tends to root for the underdog.

I like human comedies - or dramedies. More than anything, I'm interested in people just dealing with everyday things that are difficult, and there is more than enough comedy and drama in that.

'The Night Of.' I pray there will be more.

I feel like everybody's waiting for a job y'know, you can make a movie on your phone. And so there really is no reason to worry about how to get in with people- and you can do that, there's a lot to learn working for people -but you can just make a movie, where in the old days that was completely impossible.