I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.

I had a background in theater as an actor, and then a photographer, and then as an experimental filmmaker and editor.

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.

I like being able to just turn the microscope on a small number of people, get to know them, drop into their lives for a period of time.

In the collaborative process, you create a real intimacy; everybody ends up sharing personal stories and personal observations and their philosophies, their psychological side. By the time you get to set, it just creates such a sense of trust and intimacy between the director and the actors. It's really, really great.

I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.

Making art, being creative, is risky, especially for actors, but everybody on the set is being creative. You're putting yourself out there with ideas, and to have your brain be free of stress so that it can actually do its best work, it feels like you want to have a real sense of intimacy and connection and trust with everybody.