There's something grueling but very appealing about rough, to-the-bone material in a low budget context. There's less between you and the material. There are less people. There is less time. There's often less technology. You have to concentrate very intensely, and you jump in a little deeper because there's nothing in your way... but there are challenges.

We all have a limited amount and that it's a privilege to grow old. That's something that I think a lot of people have forgotten in this very fast-paced world where youth is overly celebrate.

What I hope in my ideal world is that with each project, I'll either get to work with a really great script that would force me to grow, or work with a really great actor who will make me better.

When your life is being threatened there's an instinctive urge to fight. You fight for the time you have, for your relationships.

I love actors, regardless of where they are in their skill level. There's something terribly satisfying about working with someone who's really learning.

My castings sort of go in phases. There'll be several icy professional parts - a lawyer or a cop. And then there'll be the intelligent-but-wounded group and then the period things. It goes in sequence.

Most scripts are written to be green lit. They're not written to be acted. And a lot of writers with the greatest intention in the world don't write for actors. They don't understand the architecture of what an actor needs to get from point A to point B.