I try to build relationships with the actors, at least to some degree beforehand, whether it's phone calls because I'm from Seattle or all of us meeting in person at some point, which is ideal if at all possible before we get on set together.

My mom was in education, and I remember reading in one of her books about multiple intelligences - this whole theory about how there are all these different ways you can be intelligent, like eight or 10 of them or something. And one of them is emotional.

If I don't have to think about the commercial aspect of it, then I feel like I'm going to make better films.

I can connect with whoever I want to connect with in the world. And I can also write my own script. I don't have to follow rules. I can sort of just be unconventional.

It's just not enough time on set. That's my favorite time. I live for that time on set. I feel like that's when I'm stretching and flexing my muscles and learning how to direct better.

So many people have said this, but it's true: 95 percent of what I do as a director is casting and getting people who can bear the load of what you're asking them to do and creating this emotionally safe environment.

Hmm, can I be obvious and say there is probably a double standard for male vs. female directors? Sadly, I think that's actually the case. And it probably stems from the fact that there are proportionately so many fewer women directors than men ones that each project is perhaps more closely scrutinized for its content.